{"id":34546,"date":"2023-02-03T10:00:31","date_gmt":"2023-02-03T08:00:31","guid":{"rendered":"https:\/\/solkes.com\/?p=34546"},"modified":"2026-08-26T18:11:21","modified_gmt":"2026-08-26T16:11:21","slug":"butoh-dance","status":"publish","type":"post","link":"https:\/\/solkes.com\/en\/the-shutter\/2023\/02\/butoh-dance\/","title":{"rendered":"Butoh Dance: The Dance of the Dark Soul"},"content":{"rendered":"<p><span style=\"color: #138a8d;\">W<\/span>hile I was sitting on the red cushion, just a few centimeters in front of the stage, I wasn\u2019t quite sure what to expect.<\/p>\n<p>I must confess that this form of dance was completely new to me, even though I have danced all my life. A little mysterious, you could say.<\/p>\n<p>I am talking about Butoh, a Japanese dance form. This form of artistic expression is mystical, physically demanding, and magnetic.<\/p>\n<p>[**image**](https:\/\/solkes.com\/wp-content\/uploads\/2019\/08\/1602_03-2-1.jpg)<\/p>\n<p>*Nicol\u00e1s Cham\u00e1s T\u00fcrk \u00a9 Solkes*<\/p>\n<p>It seemed strange to me, although not entirely impossible, that this form of dance was relatively unknown in Japan itself.<\/p>\n<p>Yet the world lies at the feet of its choreographers and dancers. And rightly so. This is the dance of the dark soul of the post-Hiroshima era.<\/p>\n<h3><span style=\"color: #138a8d;\"><strong>Butoh Dance: An Expression Born After Hiroshima<\/strong><\/span><\/h3>\n<p>In case people have forgotten: in August 1945, the United States dropped atomic bombs on the Japanese cities of [**Hiroshima and Nagasaki.**](https:\/\/www.history.com\/topics\/world-war-ii\/bombing-of-hiroshima-and-nagasaki) These two attacks claimed the lives of at least 129,000 people.<\/p>\n<p>[**image**](https:\/\/solkes.com\/wp-content\/uploads\/2019\/08\/1602_01-2-1.jpg)<\/p>\n<p>*Nicol\u00e1s Cham\u00e1s T\u00fcrk \u00a9 Solkes*<\/p>\n<p>More precisely, a uranium gun-type atomic bomb called \u201cLittle Boy\u201d was dropped on Hiroshima on August 6. Just three days later, Nagasaki was hit by \u201cFat Man,\u201d a plutonium bomb.<\/p>\n<p>Little Boy exploded approximately 2,000 feet above Hiroshima. The blast had an explosive force equivalent to between 12,000 and 15,000 tons of TNT and destroyed an area of about five square miles of the city.<\/p>\n<p>During the first two to four months after the attacks, the effects of the bombings were so devastating that between 90,000 and 166,000 people died in Hiroshima and between 39,000 and 80,000 in Nagasaki. This means that half of the deaths in both cities occurred on the first day.<\/p>\n<p>As expected, many people died in the following months from burns, radiation sickness, other injuries, and malnutrition. Needless to say, the world, and Japan in particular, would never be the same again.<\/p>\n<p>### **Butoh Is Life**<\/p>\n<p>\u2013 Yukio Waguri \u2013<\/p>\n<p>Something in our humanity\u2014or in its absence\u2014changed on that fateful day. Butoh, this dark dance, is a public act of symbolic transformation. Everything begins with the search for a new body, a post-war body.<\/p>\n<p>In the early days of Butoh, the [**Japanese streets**](https:\/\/www.japan-guide.com\/) were marked by burned bodies and survivors. Pain, suffering, and the inability to understand why all of this had happened were part of everyday life.<\/p>\n<p>Some of the characteristic elements of this form of artistic expression include both playful and disturbing imagery, as well as the use of white makeup.<\/p>\n<p>In Butoh, strange as it may sound, there are no boundaries. There are no extremes either. It is infinite. It will always continue.<\/p>\n<p>The idea is that people do not move themselves. Rather, there is a force that moves, pushes, and pulls them.<\/p>\n<h3><strong><span style=\"color: #138a8d;\">Tatsumi Hijikata and the Origins of Butoh Dance<\/span><\/strong><\/h3>\n<p>BUTOH was developed by Tatsumi Hijikata. Hijikata believed that a body should not be pushed forward. Instead, the body should be pulled and pushed inward.<\/p>\n<p>Hijikata was a teenager when the bombs fell on his beloved country. Yet his art was not an art against war.<\/p>\n<p>[**image**](https:\/\/solkes.com\/wp-content\/uploads\/2019\/08\/1602_04-1-1.jpg)<\/p>\n<p>*Photo: Nicol\u00e1s Cham\u00e1s T\u00fcrk \u00a9 Solkes*<\/p>\n<p>He became a dancer and choreographer while his country lay in ruins. It was a time when all structures and preconceived ideas could be reinvented. A time when change could only move forward. There was no turning back.<\/p>\n<p>Of course, these two attacks shaped both his life and his dance.<\/p>\n<p>Although the bombings deeply affected him, it is important to understand that his choreographies were not a direct result of the war or the bombings.<\/p>\n<p>Rather, it is more accurate to say that these events served as sources of inspiration. They helped him develop revolutionary, intense, profound, and universal ideas.<\/p>\n<p>It is also fascinating to see how each of Hijikata\u2019s students developed a different approach to dance. This was a direct result of Hijikata continuously changing his teaching methods.<\/p>\n<h3><span style=\"color: #138a8d;\"><strong>Yukio Waguri and the Evolution of Butoh Dance<\/strong><\/span><\/h3>\n<p>After his death, the methodology of Butoh remained largely unknown until Yukio Waguri came along. He developed as a dancer under Hijikata\u2019s choreography. His style often uses highly elaborate visualizations that can be extremely mimetic, theatrical, and expressive.<\/p>\n<p>Waguri made sure that the world became aware of the essence of Butoh. In this dance, what is expressed is perceived as the final visible result. It should therefore not be something a dancer consciously tries to display. Instead, dancers must absorb the choreography in order to make the desired result visible.<\/p>\n<p>Thanks to Waguri, it is possible to learn about and study Butoh-Fu. However, Butoh-Fu is only one part of Butoh, not the entire concept. Butoh has a second founder. His name is Kazuo Ohno. Ohno\u2019s Butoh style is fundamentally different from Hijikata\u2019s.<\/p>\n<p>It is very important to understand that Butoh-Fu was Hijikata\u2019s final creation, and he never completed it. After his death, Waguri reconstructed his method. He was able to do so based on Hijikata\u2019s teachings and notes.<\/p>\n<h3><span style=\"color: #138a8d;\"><strong>Butoh Dance and the Legends of Tono<\/strong><\/span><\/h3>\n<p>There are many ghosts in Japan. Yet not all of them are evil. Ghosts are everywhere. **They are full of vital energy and move like the wind.** When you observe these ghosts from a distance and look at the space surrounding them, you get the feeling that they become one with the landscape.<\/p>\n<p>[**image**](https:\/\/solkes.com\/wp-content\/uploads\/2019\/08\/1602_05-1-1.jpg)<\/p>\n<p>*Nicol\u00e1s Cham\u00e1s T\u00fcrk \u00a9 Solkes*<\/p>\n<p>**\u201cThe Legends of Tono\u201d** is a unique choreography that highlights Japan\u2019s supernatural culture. It tells true stories and legends from the mountainous regions of Japan. The piece consists of nine scenes. Its central idea is to show how supernatural beings cross over into our world.<\/p>\n<p>The piece is performed according to the poetic choreographic notation of \u201cButoh-Fu.\u201d It is important to understand that Butoh-Fu was passed down orally by Tatsumi Hijikata. Each word in this notation has its own choreographic meaning and serves as a basis for interpretation.<\/p>\n<p>This remarkable choreography was created by dancer Macoto Inagawa\/4 RUDE in collaboration with second-generation dancer Yukio Waguri. Second-generation dancers are those who learned directly from Tatsumi Hijikata.<\/p>\n<p>Waguri is an artist who remains true to his dance style while constantly evolving. After dancing for several years, he stepped away from the stage. Later, he returned to performing.<\/p>\n<p>I began asking many questions. I was simply curious.<\/p>\n<p>**L.V.A.:** How did you become a Butoh-Fu dancer?<\/p>\n<p>**Waguri:** I had only one teacher. But then I left him and later returned.<\/p>\n<p>**L.V.A.:** Why did you return?<\/p>\n<p>**Waguri:** It is my destiny. I have a responsibility.<\/p>\n<p>**L.V.A.:** Responsibility to whom?<\/p>\n<p>**Waguri:** Responsibility to myself.<\/p>\n<p>[**image**](https:\/\/solkes.com\/wp-content\/uploads\/2019\/08\/1602_06-1-1.jpg)<\/p>\n<p>*Nicol\u00e1s Cham\u00e1s T\u00fcrk \u00a9 Solkes*<\/p>\n<p>As I spoke with this legend of dance, I began to realize that throughout our lives, we make certain discoveries about ourselves. Discoveries about our essence\u2026 Perhaps they do not provide all the answers. Yet some things become clear.<\/p>\n<p>### **Butoh-Fu: Die Sprache des Butoh-Tanzes**<\/p>\n<p>Oft wird gesagt, dass Butoh-Fu-Texte poetisch klingen. Tats\u00e4chlich steht jedes Wort f\u00fcr eine bestimmte Tanzform, eine Bewegung und eine bestimmte Beziehung zwischen K\u00f6rper und Raum.<\/p>\n<p>Ja, Butoh-Fu klingt wie Poesie. Doch eigentlich ist es eine \u201ek\u00f6rperliche Sprache\u201c, die die Bewegung eines T\u00e4nzers und seine Beziehung zum Raum beschreibt.<\/p>\n<p>\u201eMan tanzt mit den Worten, und daf\u00fcr braucht man viel Verst\u00e4ndnis. Wenn ich zum Beispiel sage, dass du eine Blume bist \u2026 welche Art von Blume? Eine Rose, eine wei\u00dfe Blume, eine dunkle Blume, eine Tulpe? Es gibt also viele Ebenen. Es ist sehr pr\u00e4zise \u2026 Du musst dar\u00fcber nachdenken: Wie viele Bl\u00fctenbl\u00e4tter hat sie? Welche Jahreszeit ist es? Welche Farbe hat sie? Wie bewegt sie sich im Wind?\u201c, erkl\u00e4rt mir Yukio Waguri.<\/p>\n<p>Wie ich gelernt habe, deutet jedes Wort auf eine bestimmte Bewegung, einen Zustand oder eine Vorstellung hin, die ein Bild des Tanzes entstehen l\u00e4sst. Mit anderen Worten: Es ist eine Art Symbol, das es Choreografen und T\u00e4nzern erm\u00f6glicht, ein gemeinsames Bild und eine gemeinsame Bewegung zu entwickeln.<\/p>\n<p>**L.V.A.:** Die Choreografie wirkt frei. Ist sie das?<\/p>\n<p>**Waguri:** Ja. Es ist gut, dass dieser Eindruck entsteht. Der T\u00e4nzer ist das Instrument, um die Choreografie sichtbar zu machen. Die Choreografie ist pr\u00e4zise, aber du hast gedacht, dass sie improvisiert war. Dann ist das gut.<\/p>\n<p>Eine M\u00f6glichkeit, Butoh-Fu zu erkl\u00e4ren, besteht darin, alles in der Natur einzubeziehen: eine Blume, eine Biene, die Sonne, den Wind \u2013 einfach alles.<\/p>\n<p>Genau deshalb werden Worte verwendet, um unterschiedlichste k\u00f6rperliche Bilder und Bewegungen hervorzurufen. BUTOH-FU ist eine Methode, die uns bewusst macht, wie wir unseren eigenen K\u00f6rper wahrnehmen.<\/p>\n<p>Die mysteri\u00f6sen Worte des Butoh-Fu f\u00fchren die Leser in eine Welt der Vorstellungskraft im K\u00f6rper. Sie erreichen eine Ebene, die tiefer liegt als die Bewegungen, die wir normalerweise zum Gehen und Sprechen verwenden.<\/p>\n<p>[**image**](https:\/\/solkes.com\/wp-content\/uploads\/2019\/08\/1602_08-1.jpg)<\/p>\n<p>*Nicol\u00e1s Cham\u00e1s T\u00fcrk \u00a9 Solkes*<\/p>\n<p>Butoh-Fu verlangt von den T\u00e4nzern eine sehr pr\u00e4zise technische Herangehensweise und ein au\u00dfergew\u00f6hnliches Ma\u00df an Konzentration. Es ist sowohl k\u00f6rperlich als auch mental \u00e4u\u00dferst anspruchsvoll.<\/p>\n<h3><span style=\"color: #138a8d;\"><strong>Eine Erfahrung der Transformation<\/strong><\/span><\/h3>\n<p>Butoh ist tiefgr\u00fcndig. Es befindet sich in einem kontinuierlichen Prozess der Entwicklung und Ver\u00e4nderung.<\/p>\n<p>Das ist einer der Gr\u00fcnde, warum der dunkle Tanz der Seele so faszinierend ist. Die Vielfalt der T\u00e4nzer und Formen des Butoh ist grenzenlos.<\/p>\n<p>Ich bekenne mich als absoluter Fan. Der K\u00f6rper soll mehr k\u00f6nnen und sich auf eine andere, ungew\u00f6hnliche Weise bewegen.<\/p>\n<p>Die Worte k\u00f6nnen als Mittel verstanden werden, um diese Bewegungen zu imaginieren und wahrzunehmen. Es ist, als w\u00fcrde man mit dem K\u00f6rper zeichnen. Wir sind die Leinwand und die Farben.<\/p>\n<p>Dieser Tanz sagt alles. Er geht \u00fcber unser allt\u00e4gliches Verst\u00e4ndnis von Bewegung hinaus. Er ver\u00e4ndert auch die Art und Weise, wie wir mit Bewegung und unserem eigenen K\u00f6rper umgehen.<\/p>\n<p><span style=\"color: #138a8d;\">W<\/span>ie Waguri mir sagte: \u201eButoh ist Leben\u201c \u2026<\/p>\n","protected":false},"excerpt":{"rendered":"<p>While I was sitting on the red cushion, just a few centimeters in front of the stage, I wasn\u2019t quite sure what to expect. I must confess that this form of dance was completely new to me, even though I have danced all my life. A little mysterious, you could say. I am talking about [&hellip;]<\/p>\n","protected":false},"author":76,"featured_media":21363,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[39],"tags":[2712],"class_list":["post-34546","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-shutter","tag-japan-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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Estudi\u00f3 Comunicaci\u00f3n Social con \u00e9nfasis en Periodismo en la Pontificia Universidad Javeriana de Bogot\u00e1, Colombia. Desde muy joven sinti\u00f3 una profunda pasi\u00f3n por contar historias, explorar el mundo y dar voz a quienes no la tienen. Su compromiso con los Derechos Humanos ha sido una constante en su trayectoria, participando activamente en proyectos sociales desde temprana edad. Este inter\u00e9s se refleja en el enfoque editorial de Solkes, una revista que prioriza el periodismo independiente, la diversidad cultural y la profundidad narrativa. Laura naci\u00f3 en Bogot\u00e1, vivi\u00f3 tres a\u00f1os en Madrid, Espa\u00f1a, y desde el verano de 2010 reside en Alemania. 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