A Compilation of Butoh Exercises 2

18/09/13 Part Two: Dairakudakan - A compilation of Butoh Exercises

coolessay.org/docs/index-161441.html?page=2 1/31

Part Two: Dairakudakan

Part Two: Dairakudakan

All exercises are taken from my

experiences with Dairakudakan. I will first

describe the exercises that primarily deal

with body shape and body technique,

then describe the exercises that were

primarily image driven.

^ Technique Exercises

基本

Kihon

Basic Stance

Imagine a thread attached to the very top

of your head and the rest of your body as

a limp doll.

The thread pulls you up onto your very

tiptoes, then settles you down so your

legs are bowed.

Because the thread is the point of

suspension, your upper body is straight:

head up and back over the spine, gaze

forward, hips under the spine, arms limp,

and legs bowed.

See diagram:

基本歩行「すり足」

Kihon Hokou "Suriashi"

^ Basic Walk "Sliding Feet"

Variations on the basic walk, suriashican

be found in many of the Japanese

performing arts: Noh, Nihon-Buyo, and

http://coolessay.org/docs/index-161441.html?page=2



Kyogen. I was not taught any movementimages with this walk such as with the

Ankoku Butoh basic walks.

The body is first pulled into the basic

stance.

A foot slides forward about 3/4 length of

the other foot. Heel of foot to ball of foot

slightly raising and lowering.

The other foot slides forward to take a

step.

If one were walking on sand, the twolines left by the feet would be totallyparallel.

The whole body is being pulled forward;

one point does not lead.

The hips may sway a little, but the bodymust not bob up and down at all.

紐に引っ張られる

Himo ni Hipparareru

^ Thread Movement Series

There are two basic movement

techniques. One is the thread movement,being pulled here and there – the other

water spouting through the body. First Iwill describe the thread movement

sequences:

Thread movement 1

Get pulled into the basic stance.

A thread is attached to the centre of your

hips, inside your body. A thread isattached to the centre of your chest,

inside your body.



A thread is attached to the centre of your

head, inside your face.

The thread pulls your hips forward. Therest of your body stays in the basic

stance.

Hips get pulled forward right.

Hips get pulled right.

Hips get pulled back right.

Hips get pulled back.

Hips get pulled back left.

Hips get pulled left.

Hips get pulled forward left.

Hips get pulled forward.

Repeat.

Repeat.

Hips get pulled in a 360 motion alldirections.

Reverse direction and start over.

The thread pulls your chest forward. The

rest of your body (including hips and

face) stays in the basic stance.

Chest gets pulled forward right.

Chest gets pulled right.

Chest gets pulled back right.

Chest gets pulled back.

Chest gets pulled back left.

Chest gets pulled left.



Chest gets pulled forward left.

Chest gets pulled forward.

Repeat.

Repeat.

Chest gets pulled in a 360 motion alldirections.


The thread pulls your face forward. The

rest of your body (including hips and

chest) stays in the basic stance.

Face gets pulled forward right.

Face gets pulled right.

Face gets pulled back right.

Face gets pulled back.

Face gets pulled back left.

Face gets pulled left.

Face gets pulled forward left.

Face gets pulled forward.

Repeat.

Repeat.

Face gets pulled in a 360 motion alldirections.


Thread Movement 2




The thread that suspends you in the basicstance goes totally limp.

Collapse!

The thread attached to your head

tightens, and slowly pulls you up to the

basic stance again, as described above.

You are being pulled from your head, so

the top of the head leads, while the body

merely follows.

Thread Movement 3


The thread that suspends you pulls taught,

pulling you to your tiptoes.

It moves, pulling your body along with it,

on your tiptoes, all over the place.

Since the thread is taught, attached to

your head, and above you, your whole

body is straight and rigid: dragged acrossthe space.

Thread Movement 4


Imagine threads attached to all your

various joints. (Including above exercise.)

A thread attached to your hand pulls yourarm upward.

The hand alone moves, pulling the arm ofbody after it as the hand gets pulled

upward.

The thread goes limp.

Arm returns to dangling position.

Experiment in this way with various



threads to various body parts, pulling in

different directions, up, down, side to

side.

The point of movement is always the

thread: you are being moved.

Notes:

Since the point of movement is the

sensation of being pulled by the thread, it

is important that the body follow andnotlead the motions. An outside view

should clearly show this to be the case.

水に動かせる

Mizu ni Ugokaseru

Moved by Water Series

Instead of the body being moved by

various threads from external sources, in

this set of body techniques water is

flowing though the body, producingmovements that start inside the body. It is

important to not that the body is stillbeing

moved and not moving of its own accord.

Water Movement 1


The thread that suspends you in the basic

stance goes totally limp.

Collapse!

Water flows into you from below.

Like a hose moving under water pressure,

the water moves your body and pushes

you up.

All parts of your body are limp until water



reaches (head and neck as well) them and

thrusts them forward:

First your knees.

Then your hips.

Then your belly.

Then your chest. Overflow, push.

Then the water flows out your head,

returning you to the basic stance.

This should look like a wave motion,clearly travelling up the length of your

body.

Collapse!

Repeat.

Faster and faster, till it becomes almost

uncontrollable.

Water Movement 2


Without collapsing, water flows into you

from below, producing a wave ripple

through your body that thrusts each body

part forward as the water passes:

First your knees.

Then your hips.

Then your belly.


Then the water flows out your head,returning you to the basic stance.

This should look like a wave motion,

clearly travelling up the length of your

body.



Over and over again, getting faster andfaster until the body is trembling up and

down in the thrall of the water pressure.

^ Water Movement 3: Forced to Walk


Without collapsing, water flows into you

from below, producing a wave ripple

through your body that thrusts each body

part forward as the water passes:

First your knees.

Then your hips.

Then your belly.


Then the water flows out your head,returning you to the basic stance.

This should look like a wave motion,

clearly travelling up the length of your

body.

The pressure of the water travelling up the

spine and thrusting your chest forwardmakes you loose balance.

Take a step forward to regain balance.

Repeat, with other foot.

Water Movement 4


A jet of water spurts from your chest,

travelling out one arm, making it tense and

thrust like a hose.

Go limp back to basic stance.



A jet of water spurts from your chest,

travelling out the other arm, making it

tense and thrust like a hose.

The above, fast!

Go limp back to basic stance.

A jet of water shoots across the

shoulders, from one arm into the other!

Go limp to basic stance.

Slowly, multiple jets of water spurt though

and from your body, forcing you into all

kinds of positions. Through the feet, hips,

chest, head, etc..

Experiment with tempo.

Some times some parts of the body stay

limp, not being moved by any jets of

water.

Sometime you are such in the thrall of the

water that you whole body is violentlymoving and bursting. Other times, the

body is slowly and inevitably moved by

the water.

^ Water Movement 5: the Octopus (タコ

tako)


Keeping your feet firm on the ground,

water begins to spurt and jet though the

chest, arms, and upper body.

The movement is primarily side to side,

with no forwards and backwards

movements.

This is very, very fast.

This is called the octopus, or tako.



Notes:

Through the water series of exercises, the

body should look like it is being moved

by an internal source. Another point of

importance is the wave motion throughthe body as water travels up it. It is

challenging, but ultimately a rewarding

sensation when done correctly.

^ Other Types of Movements

The above basics are taught to students

to emphasize and codify a way of moving

that all dancers can adhere to and

replicate. For the purposes of

choreography, these movement patterns

play a huge role, but here are a few moremovements that we learned.

爆発

Bakuhatsu

Explosion

There is an explosion through the body.

Arms and fingers are outstretched as

wide sideways as possible.

Face and facial expression are as wide

and open as possible.

Legs and toes are as wide apart as

possible and you are standing on the heels

of your feet.

All power is lost, collapse into a crouch.

Explode again.

Repeat 30 times, faster and faster each

time, and fully exploding and collapsing



each time.

花火

Hanabi

Fireworks

Face and facial expression are as wide

and open as possible.

Arms and fingers are as outstretched as

possible and pinwheeling a circle in front

and behind the body (counter-clockwise),

as fast as possible.

Toes are outstretched.

Legs are splayed forward and you are on

the heels of your feet, rapidly drummingthem both on the floor very fast, as if

trying to escape fireworks explodingaround your feet (hence the name), and

barely keeping enough contact with thefloor for balance.

^ Image Based Exercises

The next few exercises had no specific

shapes to imitate or poses to assume.What happens happens. Like some of the

Ankoku Butoh work, the student mustimagine and bodily experience themovement cues.

Because these are all related and buildinto each other, they will be typed as if

one exercise.

Some preliminary explanation is required.Maro Akaji's lecture:

When, in the course of everyday life,humans experience a small accident – like



stubbing one's toe, we experience a short

burst of surprise and pain where weforget everything we've been thinking and

feeling up to then. We even forget whowe are. This experience only lasts a split

second, but it is vital to the dance.

We artificially extend the crisis point of

pain and surprise. We loose all sense ofwho we are. Our bodies are in crisis. I

like to think of it as falling into a darkhole.

This crisis point, if held long enough,

passes into what I call "space body," (宙体 chuutai) where the body is a merevessel. Hands are no longer implements.

Eyes are no longer for seeing. In thisspace, various beings can pass though us.

They can take over us, possess our being.Animals, ghosts, anything can travel into

us and take over. When this happens, it iscalled "carrying". (はこぶ hakobu)　

^ Space Body and Carrying

The student mimes an everyday activity.Anything will do, brushing teeth, shaving,clipping toenails, walking, showering,

brushing hair, etc..

Imagine this with total conviction.

When the teacher claps his/her hands, anaccident of the kind described aboveoccurs.

Fall into a dark hole.

Forget everything.

Pain and surprise spread from theaccident site through the whole body.

Prolong the crisis point. Sixty seconds or

more.



Repeat the above until the studentbecomes good at prolonging the crisis

point.

One again, mime and everyday activity,

then prolong the crisis point.

Pass into "space-body," where all pointsof reference are lost.

The body becomes a mere vessel.

Hands are no longer implements.

Eyes do not see.

Standing is not conscious.

Body floats.

Repeat the above until the student

becomes good at entering "space-body".

One again, go through the above processuntil "space-body" is achieved.

The teacher then calls out various animals

or concepts that enter the body frombehind and transform the student.

A horse. The spirit of a horse. How doesthe body become moved by this spirit?

Not the imitation of the form of a horse,

but the spirit, the essence of a horseinvades the body, transforming thestudent.

The ghost of a wicked old lady.

A caterpillar.

Etc...

Notes:



There should be more than enough timegiven so that the students can truly master

the various points of transformation fromeveryday activity to crisis point, to "spacebody" and beyond. Carrying (hakobu)

different beings should be undertakenwith care, letting each being settle and

transform the body for a time.

It is important to note that hakobu doesnot mean imitation, rather, the essences or

spirits of different beings take over andtransform the dancer.

There are various postures (kata) fordifferent animals, but until one becomesskilled at hakobu, these set postures are

not important to imitate. According toMaro, these set postures are important

only in choreography.

(Dairakudakan via Coelho)

Part Three: Other Schools of Butoh

Kasai Toshiharu

腕の立ち上げ

Ude no Tachiage

Arm Standing

This exercise is the only one in thiscompilation that is related to Noguchi

Gymnastics. I include it because it fusesNoguchi Kasai's own ideas of butoh.

1.

Lie down on the floor on yourback. If you have back problems,



you may keep your knees bent. Itis not neccesary to stretch your

knees.2.

Stretch you arms wide open (withyour palms facing upward) along

the floor.3.

Rest your arms on the floor.

4. Try to touch the floor with your

nails in order to stretch your armsfarther.

5. Release tension from your entirebody and take a rest for a while.

6. Slowly, lift your forearms, keeping

your elbows on the floor, until eacharm forms a right angle.

7. Keep breathing normally. Try notto close your throat when you

move your arms.8.

Slowly life your entire arm. Don'tmove in a hurry. This is a precious

moment to perceive your armweight for encounter with the "godof gravity".

9. Continue lifting your arms, raising

your shoulder blades off the floor.10.

Stretch your arms all the wayupward. Keep this position for awhile.

11. Release tension from your

shoulders and allow your shoulderblades to rest on the floor while

your arms are kept straightupward.

12.

Feel your shoulder blades on thefloor and try to locate on which the

weight of the arm rested. Yourshoulder blades are like a

foundation upon which all of the



weight of your arm weighs.

13. Try to suspend your arms up in theair with as little muscle tension as

possible. Keep your arms in thisposition for a while.

14. When you feel tired, release

tension from your shoulders andlower your elbows to the floorgradually. Feel how heavy your

arms are while lowering your arms.15.

Rest your elbows on the floor.Then, release tension from your

elbows, allowing your forearmslower gradually.

16.

Rest your arms on the floor. Feelthat your body is more relaxed and

tranquil.17.

Repeat this exercise a few times.Try to keep your arms up with aslittle muscle tension as possible.

Notes from Kasai:

When you can keep your arms up withvery little muscle tension, you may notice

that your arms begin to move a little bit,gradually making side to side movements,

or circular movements. You may think toyourself, 'Unintentionally, my arms are

beginning to move a little bit, graduallymaking side to side movements or circularmovements.' If your body reacts the way

that you thing, this is an example ofideomotor [unconscious] movement.

(Kasai 79)

(Kasai 77-79)

lshii Mitsutaka



呼吸法ダンス

Kokyouhou Dansu

Breathing Dance

Each dancer breaths in a set rhythmicalpattern. No need to match with other

students. Any breathing pattern can beused: deep, deep, shallow, shallow,shallow deep, etc...

Using the energy released and lung

movements provided by this control,dance freely.

At times, match breathing with anotherstudent, and using their patter, dance

duets.

Other times, come into physical bodilycontact with another student – when

bodies touch, release a gust of breath.

Begin to use the idea of touching other

students being an element that controlsbreath. Improve freely with this idea.

(Ishii via Mizumochi)

^ Ishii Mitsutaka

Three Person Dance

The students form groups of three.

Each group dances alone in front ofeveryone else, taking turns.

The teacher plays some music – anything

can work.

The students in the group of three mustdance solely with the idea of giving and



receiving energy, but never dancing with

their own energy.

A three-person exchange of energyhappens, the total energy of the group

reaching a fever pitch over five min or so.

The next group of three students.

(Ishii via Mizumochi)

^ Kanazawa Butoh-kan

Electricity Tree

The student must imagine and bodilyexperience the below movement cues.

1) The students form a circle, but stand

back to front.

2) Grasping, clutching a giant tree'sbranches in front,

3) Slowly shaking the branches of thetree.

4) The tree moves forward, and so do the

students in their want to grasp the tree.

5) The tree disappears.

6) Hands slowly raise straight up to the

ceiling, as if the student is slowly beinghung from the ceiling by their outstretched

hands.

7) Body as stretched taught upward aspossible; hanging from the ceiling.

8) Walk forward on balls of feet very,very slowly.

9) Electricity begins to gather between

two outstretched hands, crackling andfizzing.



10) Need to electricise whole body.

11) To electrify body, run hands all overbody, starting high and going lower

slowly. Do not touch body with hands.

12) Lower slowly.

13) So low one becomes a squatting

gorilla.

14) From low squatting position, walkforward slowly on balls of feet.

15) Repeat for twenty minuets or so.

Posture Diagrams:

Part 8

Part 14

(Yamamoto Moe via Mizumochi)

Kanazawa Butoh-kan

Heel Slide Walk

1.

The students form a circle, butstand back to front.

2. Walking in a circle, walk naturallywith 15 cm steps.

3. Proceed for about five min.

4. Slowly begin to change walk like

so:5.

Left heel slides on floor forward

while right foot remains on floor.6.

Left foot presses down on floor



while right heel slides forward.7.

Walk in this manner for a time.8.

Gradually lengthen the length of

each heel slide.9.

As long a heel slide as possible. 10.

As long a step as possible.11.

Slowly, slowly shorten the step

length.12.

Gradually until step length becomesas short and narrow as possible.

13. Repeat process for about 15 min.

Diagrams:

Heel Slide walk (parts 5-6)


Kanazawa Butoh-kan

Fragrance Exercise


Smell a flower 20 cm in front of yourface.

You become surrounded by flowers.

With your sense of smell, search 360degrees for the flowers

Become aware of your own scent.

Search for and find the areas of your own



body's smell.

Under legs, arms, feet, etc...

Begin to dance with this idea.

Return to smelling the flower in front of

face.

Notes:

This is Kanazawa Butoh-kan's primary

exercise, which they practise for as longas an hour at a time. There is no set

shape.


^ Frances Barbe

Dance Experience

First Phase

Stand in a very prepared, ready state,facing any direction you like. Take a

simple, neutral form or stance.

We want to see how the first image enters

your body and changes it, so it isimportant to start with a clear, emptybody.

The workshop leader speaks the lines,repeating the image, and leaving space to

watch the dancers' responses.

A person is buried in a wall.

S/he becomes and insect.

The internal organs are parched and dry,



The insect is dancing on a thin sheet ofpaper.

The insect tries to hold falling particlesfrom its own body.

And dances, making rustling noises.

The insect becomes a person, who iswandering around,

So fragile, s/he crumbles at the slightesttouch.

Come to stillness......And finish.

Second Phase

Now we repeat the exercise in twogroups so participants have the chance towork with the images more than once,and so they can watch each other. It isnot necessary to repeat exactly the same

forms, new ones can be found each time,but it can be useful to repeat a form thathas potential, so that it can beexperienced more deeply.

Third Phase

Next you can go through the

transformations without me talking,because you know the sequence. Listento the energy of the room so that you canexperience the difference and similaritiesbetween the bodies in the space. (This

can be done in silence or with music.)

Fourth Phase

Repeat the process using yourownbutoh-fu.



(Barbe, qtd. in Fraleigh & Nakamura136-37)

Seiryukai

Become a Wave

First Phase

First, breathe in deeply, and then slowlybreathe out completely emptying yourbody of air.

As you breathe out, move your tailbonetoward the floor as you gently and calmlymove into a crouch sitting on your heels.Imagine your tailbone rooting deeply into

the earth.

Imagine a rod running through your centre

from head to foot. From the crouchingposition, very slowly begin rising to astanding position feeling the rod groundingyou and pulling you down.

Second Phase

In the full standing position, imagine atranslucent thread rising from the top of

your head drawing you up toward thesky. Holding the feeling of being pulledup, slowly begin descending into a crouchon your heels.

Repeat: rising and descending with theseimages as slowly as you can.

Third Phase

From a full standing position, imaginesomeone pulling you from behind. Incline

your body forward. Then incline yourbody in all directions as you sense a pull



in the opposite direction.

Continue sensing an opposing pull as youlife your arm, lift your leg, turn in a circle,run, jump, fall down. No matter howviolent your movements are, observe

them calmly.

See yourself. Then see another self.

(Harada Nobuo via Fraleigh andNakamura 140-41)

^ Vangeline Theatre

Electricity Stand


Lie on the floor.

Feel electricity crackling through the solesof your feet.

The electricity through your feet producessmall involuntary movements.

These small movements gradually turn

into the sloshing of water in your body.

Your body becomes a bag of water.

Slosh.

Slosh.

Slowly, begin to stand. The water pushes

though your body like a wave, bringingyou to a standing position.

(Vangeline via Coelho)



^ Diego Piñon

Tongue Egg

One student keeps twenty raw eggs in abowl.

All the other students obsessively searchand reach for the eggs with their tongues.

The student with the eggs must keep theothers away at all cost, even forcibly.

(Diego Piñon via Ben Stuber)

^ Diego Piñon

Egg Crisis

Place many raw eggs into a large bowl ofwater.

Keep eyes shut.

Using only your mouth, attempt to graspan egg by bobbing your head into the

water.

If you manage to grasp an egg, try to holdit in your mouth without breaking it.

Using the feeling of grasping a raw egg inthe mouth, dance with revulsion.


^ Diego Piñon

The Ox



Partner in groups of two.

One person attempts to cross the room toretrieve a love, a treasure, a mystery,some important goal.

The other person attempts to preventthem from doing to by successivelygrasping seven points of their body:shoulders, elbows, wrists, hips, knees,ankles, and mouth.

The person advancing must use all theirstrength to walk forward.

The other person must put all theirstrength into preventing their partner fromadvancing.


Conclusions

Without almost no exceptions, all the

exercises here use image work to varyingdegrees. From the razorblades andinsects of Ankoku Butoh, toDairakudakan's threads and water jets, to

Seiryukai's rod in the body. There is ageneral trend towards the body as "beingmoved," from an internal or externalsource, rather than consciously moving abody part.

Looked at from completely scientificstandpoint, this is rarely possible unlessunder great duress or pain, but as

Kurihara points out, pain, starvation, andsleep deprivation were all part of lifeunder Hijikata's method (1996, 165-66,171), which may have helped the dancers

access a movement space where themovement cues had terrific power. It isalso worth noting that Hijikata'smovement cues are in general, much morevisceral and complicated than anything

else presented here.



Dairakudakan's series of "thread

movements" and "water movements" arevery simple and effective means of havingthe dancer move in precise shapes withprecise qualities. Looked at as merely amethod to systemize movement in all their

dancers, it is quite effective. Yet, thesesimple basics are paired with Maro'sideas of chuutai and hakobu (Hakobu,at least, does not belong to Maro alone)that are achieved through the prolonging

of the crisis body. Unlike Hijikata, Marodoes not use complicated and evocativelanguage, but focuses more heavily onmovement technique and mind technique

as separate entities, combining them inperformance more than in the studio.

Parts of Dairakudakan's movement

sequences are designed to make thedancer loose a measure of control overtheir body through very fast movement:the water jets thrusting through the bodyat high speed for example. There are few

exercises I came across that had the ideaof uncontrolled or high-speed movement.

The last section of exercises showedsome diverse methods of achieving butohdance. Kasai's arm-raising sequence,designed to make the student aware ofsmall nerve impulses in the bodies, for

example, is a very effective means offinding and controlling minute muscles. Acertain element of "control vs. uncontrol"is present through many of the exerciseshere, and I think Kasai's exercise is one

of the more effective ones to that end.

One more thing that becomes apparent is

how the exercises from Japan almost all(with a few crucial exceptions!) havespecific body shapes or general posturesassigned to them, while none of the



exercises from Western butoh dancers

have specific shapes. This seems to pointto a general trend in the West that butohis not seen as specific movement cueswith shapes assigned to them such as

Ankoku Butoh or Dairakudakan'stechnique work, but rather that butoh is acertain state of mind or feeling thatinfluences the body directly or indirectly.For example, Diego Piñon's instruction

"dance with revulsion" from the Egg Crisisexercise.

This reading of butoh is certainly an

interesting one in the context ofperformance. I remember attending abutoh workshop in New York, andremarking how specific Hijikata's

choreographies were. "What? Butoh isn'tever choreographed! It would loose itssoul," was what an older dancer said tome. She was right in that butoh dance isnot mere choreography: the exercises

here indicate an altered state of mind,which would be

lost if dancers were to retain the shape ofbutoh without any further work.

Hijikata did in fact stressfeeling throughform in his dance, saying,

"Life catches up with form" (Ohno 94),which in no way suggest that his dancewas mere form. Ohno Kazuo, though,comes from the other direction: "Formcomes of itself, only insofar as there is a

spiritual content to begin with" (Ohno 94).It is my conviction that both approachesare complimentary, and that any attemptto codify one viewpoint of the other does

no justice to both dancers' skilfulperformances.

The trend towards form is apparent in

several Japanese dance groups, whomerely recycle Hijikata's shapes and



present butoh that is mere body-shapesand choreography (Viala 100): whichwould lead butoh closer to Contemporary

Dance or Performance Art than anythingelse. A good example of this is TorifuneButoh-sha's recent works.

Yet in the West, if the trends of butoh asa form of dark Authentic Movementcontinue, butoh might end up as a form ofdancer or acting training, such as Uta

Hagen's Representational Acting,Psychological Gesture, ContactImprovisation, or Labanotation. In turn,this provokes two questions: has butohlost its teeth? Does butoh still need teeth?

I will close with a paragraph from butohdancer Iwana Masaki, whose work shies

away from all elements of choreography.

I have never heard of a butoh dancerentering a competition. Every butoh

performance itself is an ultimateexpression; there are not and cannot besecond or third places. If butoh dancerswere content with less than the ultimate,they would not be actually dancing butoh,

for real butoh, like real life itself, cannotbe given rankings. (9)

Bibiliography

Dairakudakan. Workshop experience.July 28 ~ Aug 8 2007.

Fraleigh, Sondra and TamahNakamura.Hijikata Tatsumi and OhnoKazuo. New York: Routledge, 2006.

GooSayTen. Home page. April 2008 .



Hakutoboh. Home page. April 2008 .

Inkboat. Workshop experience. May 262005.

--. Home page. April 2008 .

Iwana, Masaki. The Dance and Thoughtsof Masaki Iwana. Tokyo: ButohKenkyuu-jo Hakutou-kan, 2002.

Kanazawa Butoh-kan. Home page. April2008 .

Kasai, Toshiharu. "The Arm-StandingExercise for PsychosomaticTraining."Bulletin of the Faculty ofHumanities, Sapporo Gakuin U. 77

(2005): 77-81.

Kuniyoshi, Kazuko. An Overview of theContemporary Japanese Dance Scene.

Tokyo: The Japan Foundation, 1985.

Kurihara, Nanako. The Most Remotething in the Universe: Critical Analysis of

Hijikata Tatsumi's Butoh Dance. Diss.New York U, 1996. Ann Arbor: UMI,1996. 9706275

--. "Hijikata Tatsumi: the Words ofButoh." TDR 44:1 (2000): 12-81.

Mikami, Kayo. Utsuwa to shite Shintai.Tokyo: ANZ Publishers, 1993.

Mizumochi, Jyunko. Personal interview.16, 17 April 2008.



Ohno, Kazuo and Yoshito Ohno. Kazuo

Ohno's World from Without and Within.Trans. John Barrett. Middletown:Wesleyan U P, 2004.

Piñon, Diego. Home page. April 2008 .

Stuber, Ben. E-mail interview. March 20

2008.

Torifune Butoh-sha. Workshopexperience. June 16 ~ July 7 2007.


Vangeline. Workshop experience. July 182006.


Viala, Jean. Butoh: Shades of Darkness.Tokyo: Shufunotomo, 1988.

A Compilation of Butoh Exercises 2

Documents

Transcript of A Compilation of Butoh Exercises 2