Butoh-Fu & Choreo (Updated: 03/23/19)

“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. “Fu” means something written, scored, or recorded. Butoh-fu is associated with 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. Butoh master Mushimaru Fujieda even calls his practice Natural Physical Poetry.41

body = words

SU-EN butoh company has even suggested that in the butoh context, body words is a more apt translation of “fu” than “notation.”40 Yukio Waguri adds, “A word is not a tool for recording, but is used as a kind of medium to expand on a physical image with imagination.”²

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

This “to be made one’s own” is an important point. Hijikata’s images were more open and went beyond metaphor. In Michael Hornblow’s words, “The metaphor is a mould, ‘carrying’ linguistic resemblances and codifications, so it can never be truly vacant.” So, he suggests the word metaplasm instead, which “involves processes of modulation and transformation rather than the moulds or forms themselves.” He links this idea of the metaplasm to be like Artraud’s esoteric word of the hidden-god.31

Antonin Artaud Influence

Antonin Artaud actually may have been a prime instigator in Hijikata’s butoh-fu system. Both Ohno and Hijikata studied under Oikawa Hironobu, creator of the Artaud System in Japan, a system that joined movement and imagination via literary suggestion.34 Samantha Marenzi who mentions that butoh is often seen as the “realization of the theatre of cruelty,”34 claims “While Artaud lets the body penetrate his writing and his poetry, Hijikata lets poetry and writing penetrate his body and his dance.”35

Let us look at Artaud’s Description Of a Physical State and notice the uncanny resemblance to weak/sick-body/flower of kan type of Hijikata butoh-fu. The work has such resemblance, I even call it honorary butoh-fu.36

Butoh-Fu Creation

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. Natsu Nakajima encourages practitioners: “to put into words that which cannot be put into words, to give a form to that which is formless.”32

Also, if it helps spark the imagination, here is a list of Shadowbody body-part based butoh-fu interchangeably called qualia tattoos, qualia yoga, or qualia gongBody Part Butoh-fu.

Butoh-Fu Collection

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, Kayo Mikami, and Kuniichi Uno.

Then we have Kazuo Ohno’s fragments of butoh-fu translated by Mariko Miyagawa and one butoh-fu of Yoko Ashikawa.

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

Last on this  page we have some of SU-EN’s butoh-fu/program notes.

Yukio Waguri Translations²

Most of the written butoh-fu translations can be credited to Yukio Waguri and his butoh-fu CD-ROM. Waguri separated Hijikata’s butoh-fus into 7 worlds.

1. World of Flowers — 16 butoh-fus.

2. World of Abyss — 16 butoh-fus.

3. World of Birds and Bees — 11 butoh-fus.

4. World of The Neurology Ward — 17 butoh-fus.

5. World of Anatomy — 12 butoh-fus.

6. World of Burnt Bridges — 4 butoh-fus.

7. World of Wall — 12 butoh-fus.

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

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,” “Ailing Dancer Mistress,” and “Ailing Terpsichore.” 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.

Unknown Translator29

Flamen — This is a long-version of Flamen.

Flamen Matiere — A long butoh-fu as well.

Whereabouts

Short-Tempered Flower

Peacock

Cow: Variation 130

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

Rose Girl22

Grave Watchman23

Goya—Pope of Pus24

Cow33

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.

Kuniichi Uno Translations

Ailing Terpsichore Excerpts — These are excerpt translations of what Rhizome Lee calls “Sick Dancing Princess” and has been called by others “Ailing Mistress” and “Ailing Dancing Mistress.”  This is Hijikata’s post-Quiet House stream of (sub)consciousness notation, which was never performed.38

Mariko Miyagawa’s Kazuo Ohno Translations10

Admiring La Argentina (1986)

The following is from Water Lily (1987)

Monet

Jean Genet & Androgyny

Kazuo Ohno, Unknown Translator

The Dead Sea 37

Yoko Ashikawa Butoh-Fu

Smoke — 1989 butoh-fu from a Yoko Ashikawa workshop.28

Hokotai42

Peacock Walk43

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.

Hijikata’s Choreographic Chronology

Tatsumi Hijikata’s Chronology11

SU-EN’s Butoh-fu/Program Notes

This company began from its staging of Kaze no Cho (Butterfly of the Wind) which was choreographed by Yoko Ashikawa. It is one of the first non-Japanese butoh companies. The following are some program notes/butoh-fus.39

Scrap Bodies (1998)

Headless (2001)

Slice (2003)

Soot (2013)

Voracious (2015)

Rotten Process — One of around 60 “Body Materials”

 


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.
28 Ashikawa, Yoko. Translator unknown. Retrieved by Rhizome Lee with a note that it came from a workshop. Date retrieved: 10/22/2018 at the Subbody Butoh School in Dharamsala, India.
29 Hijikata, Tatsumi. Translator unknown. Retrieved by Rhizome Lee at unknown date. Date retrieved from Rhizome Lee: 10/22/2018 at the Subbody Butoh School in Dharamsala, India.
30 Hornblow, Michael. Special Affects: Compositing Images in the Bodies of Butoh. Masters Thesis. 2004. University of Technology, Sydney. Page 44.
31 Ibid. Page 45.
32 Nakajima, Natsu (1997). Ankoku Butoh. Lecture delivered at Fu Jen University
decade conference, Taipei: Feminine Spirituality in Theatre, Opera, and Dance. Page 6.
33 Mikami, Kayo. “Tatsumi Hijikata: An Analysis of Ankoko Butoh Techniques” 1997. Tokyo. Page. 104.
34 Marenzi, Samantha. “Foundations and Filiations: The Legacy of Artaud in Hijikata Tatsumi”.The Routledge Companion to Butoh Performance. London and New York: Routledge, 2018. Page 143.
35 Ibid. Page 144.
36 Corti, Victor, trans. “Description Of a Physical State. Antonin Artaud: Collected Works Vol. 1. London: Calder and Boyars Ltd., 1968. Page 54-56.
37 Ohno Kazuo. 1989. Goten, sora o tobu. Ōno Kazuo butō no kotoba . Tokyo: Shichō-sha. Page 152 & 169.
38 Baird, Bruce. “The Book of Butoh; The Book of The Dead”. The Routledge Companion to Butoh Performance. London and New York: Routledge, 2018. Page 171-176. Translation of: Uno, Kuniichi. 1986. “Butō no sho, shisha no sho.” Yurīka no. 237 (18 July): 30–37.
39 SU-EN. “SU-EN Butoh Company – Body, Nature, and The World”. The Routledge Companion to Butoh Performance. London and New York: Routledge, 2018. Page 286, 288, 289, 290
40 Hensbergen, Rosa van. “Waguri Yukio’s Butoh Kaden”. The Routledge Companion to Butoh Performance. London and New York: Routledge, 2018. Page 426
41 Fujieda, Mushimaru. Himalaya Subbody Butoh Center. Dharamsala, India. March 03, 2019 workshop.
42 Fraleigh, Sondra H. Dancing into Darkness: Butoh, Zen, and Japan. Pittsburgh, Pa: University of Pittsburgh Press, 1999. Print. Page 144 thru 146.
43 Ibid. 147 & 148.
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