Butoh-Fu & Choreo (Updated: 10/13/18)

“Whether it’s a squash blossom fading or a horse getting thin in the face, it all comes down to a tale of the body.” – Tatsumi Hijikata19

Butoh-fu is simply butoh qualia notation. It was coined by Tatsumi Hijikata who made great use of words since he was also a poet. Nanako Kurihara even claims, “For Hijikata the body is a metaphor for words and words are a metaphor for the body.”1 Butoh-fu creates qualia sceneries, and can make great use of qualia metamorphosis. Butoh-fu is inherently poetic, which is why surrealistic or absurdist poetry is a great resource to play with.

body = words

Hijikata connected words to the body in a way that reinforces the idea of the butoh body, which is that of something dead (Shisha) or empty, which words are like. Kurihara elaborates: “Instead of liberating the body from language, Hijikata tied the body up with words, turning it into a material object, an object that is like a corpse. Paradoxically, by this method, Hijikata moved beyond words and presented something only a live body can express.”17 Yoko Ashikawa adds: “Existence is driven by words. When the words don’t move, the self-abandonment begins. The word reaches its peak in the condition of self-abandonment. In this condition, the word is embodied little by little. In this phenomenon, the sub-conscious will also create.”18

According to Kayo Mikami, Hijikata’s choreographic units (CUs) were single images (or qualias), and these came along with “necessary conditions,” which Mikami says are made to “evoke the direction, speed, feeling, etc. that will bring forth the ‘movements,” but are meant to be experienced and created with, to be made ones own.7

We can also deterritorialize Hijikata’s butoh-fu and replace his qualias with our own as we see fit, which I call mad-libbing. For instance, in Bugs Crawl, we can replace the qualia of bugs to that of any other qualia (e.g. banana peels, so with everything else remaining the same, banana peels will be doing the crawling). We can also of course form our own butoh-fu. Choreography using the butoh-fu tends to bring out depth in performance. It is a good way to avoid fitting into shapes or falling into mere mime.

We can look to Hijikata’s butoh-fu for inspiration. We have a list of Tatsumi Hijikata’s butoh-fu as written down by the notes of Hijikata’s pupil Yukio Waguri. We also have butoh-fu translations from Rhizome Lee, Yoko Ashikawa, Kurihara Nanako, Endo Mariko, Sawako Nakayasu, Seisaku Nagaoka, and Kayo Mikami.

Last on the list is Kazuo Ohno’s fragments of butoh-fu translated by Mariko Miyagawa.

Hijikata also had 16 scrapbooks of butoh-fu which combined words and art. Below see the pictures that were in these scrapbooks. A complete butoh-fu for Hijikata incorporated various art/pictures.25

Yukio Waguri Translations²

Most of the written butoh-fu translations can be credited to Yukio Waguri and his butoh-fu CD-ROM.

World of Flowers

World of Flowers

Dalhia

Peony Petals

Odilon Redon’s Flower

Daffodil

Plum Tree and Flower

Violet

Flower Nerves

Wild Flower

Pollen

The Girl Who Walks On Monet’s Water Lilies

Hanako Basked In Light From Behind Her

The Choir Girls

The Blind Girl

Flowers and Children

Children

World of Abyss

Lotus

Prince of Smoke

Your Body Disintegrates Because You Are Being Watched From All Angles

Ghosts

Women In “Ukiyoe” Have Become Ghosts

Stuffed Birds

Mechanism of the Person Blowing Thread From His Mouth

Evaporation Process

Flowers of Light

Angels

World of Toyen

World of Abyss

Walking Just As Pure Measurement

The Relation of Being Watched and Being Deprived of The Soul

Various Places

Space

Flamen14 — (Not listed in the original Waguri CD-Rom)

World of Birds and Beasts

Deer

Horse

Bull

World of Birds and Beasts

Crow

Owl

Dove

Bird Dances

World of The Neurology Ward

Strange Man With Frog On His Head

Threads of Drawings of Noble Ladies By Beardsley

Sleep Walker

Sketches Of The Neurology Ward

A Strange Neurotic

“Kinka-To” Walk

From The Forest To The Swamp

Prince of “Bekko-Ame”

The Strange Prince

The Appearance Of The God Maya Made Of Nerves

The Nerve Walk

The Bird’s Nest Walk

See Through The Crystal

One Finger

World of Anatomy

King Solomon’s Palace

Traces of Salvador Dali

Behind The Mask

Leper Hospital

Heavy Neck

Auschwitz Walk

Ear Walk

World of Anatomy

Rubber

Monstrous Animals

Pus and Flower of Epilepsy

Thin Wall of Pus Shining In White

World of Burnt Bridges

World of Burnt Bridges

Person At The War-Ravaged City

Celebration Within The Wall

From Dolls to Ghosts

World of Wall

You Live Because Insects Eat You

The Materials Walk

“Dozo”, A Storage Building Made of Dried Mud

World of Wall

“Gaki”, The Hungry Demon

Appearing First As Girl of “Hagoita”

Flowers In The Wall

Things The Body Remembers When I stood Against The Wind

Breeding Dust

A Flower Is Stuck On The Mirror

From Dry Dirt To Ghost

Ghost Holding a Baby

Rhizome Lee Translations

Quiet House³ — Last piece of Hijikata where he also participated as dancer.

Sick Dancing Princess (Ch. 1) — Also known as “Ailing Dancer” and “Ailing Dancer Mistress.” This is Hijikata’s post-Quiet House stream of (sub)consciousness notation, which was never performed.4

Flower of Kan — Gathered Hijikata Butoh-fu lines/images specifically related to physical and/or mental disabilities, edges, problems, etc.5

Yoko Ashikawa Translations6

Walking of Measure

Goya Or The Pope of Pus

Michaux or The Man of Light

Beardsley No. 1 Thru 4

The Flower Garden of Bresdin

Bugs Crawl

Walking Through the Woods of Bresdin— This was Hijikata’s last butoh-fu.16

Kurihara Nanoko’s Translation12

Unidentified Jean Fautrier Painting — (This title references Fautrier, but the painting is that of Francis Bacon’s Study for a Portrait of Van Gogh iii, 1957.)

Endo Mariko’s Translation

Gibasan13

Candy Avalanche15

Sawako Nakayasu’s Translation

Costume en Face — Translation of Moe Yamamoto’s notes.20

Seisaku Nagaoka’s Translation

Walk of a Measure aka Walk of a Log21 — From Seisaku Nagaoka’s notes.

Kayo Mikami’s Translations & List of Butoh-Fu “Postures”

Rose Girl22

Grave Watchman23

Goya—Pope of Pus24

List of Butoh-Fu “Postures” — AKA Choreographic Units (CUs) from Kayo’s Laboratory Notes ’78 to ’81.Waguri (see above) recorded Hijikata’s butoh scores/”necessary conditions” for several of these CUs.

Mariko Miyagawa’s Kazuo Ohno Translations10

Admiring La Argentina (1986)

The following is from Water Lily (1987)

Monet

The Descent From The Cross

Jean Genet & Androgyny

Hijikata’s Scrapbook Pictures/Artists

The breakdown of these scrapbooks in English is due to the wonderful scholarship of Kurt Wurmli in his PhD dissertation called The Power of Image – Hijikata Tatsumi’s Scrapbooks and the Art of Buto.27

Scrapbook 1 (Avalanche Candy) — Same name as both a butoh-fu translated by Endo Moriko here and was the name of the part of the 1972 piece Twenty-Seven Nights for Four Seasons.26

Scrapbook 2 (Flower)

Scrapbook 3 (Stage Hints, Circus) — This entire scrapbook almost entirely dedicated to the circus.

Scrapbook 4 (On Material II Fautrier) — This scrapbook is more abstract.

Scrapbook 5 (Beggar-Hanako Material) — Very likely the scrapbook that inspired A Story of Smallpox.

Scrapbook 6 (On People/Character) — Focuses on characters.

Scrapbook 7 (Bird-Snipe) — Focuses on birds.

Scrapbook 8 (On Animal(s)) — Focuses on animals.

Scrapbook 9 (Da Vinci) — Focuses on facial expressions of Da Vinci paintings.

Scrapbook 10 (Picasso Character) — Focuses on Picasso, yet also has other artists. Other than Guernica and one other image, no other specific pieces noted from Wurmli.

Scrapbook 11 (Stone Wall) — Multiple artists depicted.

Scrapbook 12 (Nerve)

Scrapbook 13 (Shooting Star)

Scrapbook 14 (Light) — Focuses on the 3d.

Scrapbook 15 (Blue Scrapbook)

Scrapbook 16 (Yellow Scrapbook) — No images available.

Choreographic Chronology

Tatsumi Hijikata’s Chronology11

 


¹ Nanako, Kurihara. Tatsumi Hijikata: The Words of Butoh. TDR (1988-), Vol. 44, No. 1 (Spring, 2000). Page 16.
² Waguri, Yukio, Butoh-Fu CD-Rom. 2006.
³ Lee, Rhizome. The Butoh. 2017. Pages 120 – 137.
4 Ibid. 337 – 354
5 Ibid. 208 – 212.
Mikami, Kayo. “Tatsumi Hijikata: An Analysis of Ankoko Butoh Techniques” 1997. Tokyo. Page. 100, 101, 106, 107, 108, 109, 110, 113.
7 Ibid. 105.
Ibid. 161 – 169.
Ibid. “The Human Body as a Vessel-an approach to Tatsumi Hijikata’s Ankoku Butoh” 1992. ANZ Publishers.
10 Miyagawa, Mariko. Kazuo Ohno’s Dance and His Methodology: From Analyzing His Butoh-Fu. From Cord Procedings. 2015. Page 120-122.
11 Nanoko, Kurihara. Hijikata Tatsumi Cronology. TDR. The Drama Review. Volume 44, number 1 (T 165). Sring 2000. Pages 29 to 33.
12 Calamoneri, Tanya. Becoming Nothing to Become Something: Methods of Performer Training in Hijikata Tatsumi’s Buto Dance. pHD dissertation. Page 43. 2012.
13 Ibid. Page 134, 135.
14 Ibid. Page 136.
15 Ibid. Page 147.
16 Truter, Orlando Vinent. The originating impulses of Ankoku Butoh: Towards an understanding of the trans-cultural embodiment of Tatsumi Hijikata’s dance of darkness. Rhodes Unviersity. 2007. Page 76.
17 Nanako, Kurihara. Tatsumi Hijikata: The Words of Butoh. TDR (1988-), Vol. 44, No. 1 (Spring, 2000). Page 17.
18 Bergmark, Johannes. Butoh -Revolt of the Flesh in Japan and a Surrealist Way to Move. Stockholm. 1991. http://www.surrealistgruppen.org/bergmark/butoh.html
19 Hijikata, Tatsumi. Wind Daruma. TDR (1988-), Vol. 44, No. 1 (Spring, 2000), pp. 71-81
20 Hijikata, Tatsumi, and Moe Yamamoto. 2015. Costume En Face: A Primer of Darkness for Young Boys and Girls. Translated by Sawako Nakayasu. New York: Ugly Duckling Press.
21 Nagaoka, Seisaku. Exploring Japanese Avant-Garde Art Through Butoh Dance Online Course, Keio University. Step 3.14. Video. Sept 2018. https://www.futurelearn.com/courses/japanese-avant-garde-art-butoh
22 Mikami, Kayo. Body as Receptacle: An Approach to the Technique of Ankoku Buto. Tokyo: ANZ-Do, 1993. Page 118-119, 183.
23 Ibid. 188, 189.
24 Ibid. 114.
25 Wurmli, Kurt. The Power of Image – Hijikata Tatsumi’s Scrapbooks and the Art of Buto. PhD Dissertation. University of Hawaii. 2008. Page 144.
26 Ibid. Page 146.
27 Ibid. Page 153 – 279.
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