“Butoh…plays with perspective, if we, humans, learn to see things from
the perspective of an animal, an insect, or even inanimate objects, the road trodden
everyday is alive…we should value everything.” – Tatsumi Hijikata¹
Qualia can be thought of as the root of every segment of experience, connected with sensory interpretation. Items in nature, for instance, a stick or a rock, will feel very different from each other. True or not, qualia can be thought of as the inherent properties of experience that can be accessed through introspection alone. Because butoh often works with introspection and uncovering the hidden or deep, the concept of qualia is of great interest to the subbody method founded by Rhizome Lee. Subbody butoh strives to resonate with the subtle essences of the varying life differentiations.
Exercise: Object Resonance
Pick any physical object as your new dance partner. Experiment with interactions. For instance, if I choose to resonate with a large stone, I will resonate with its texture, temperature, and weight distribution as I carry it around different areas of my body. I may discover new tricks or ways my body compensates. For a very detailed list of visual object resonance, see vision & perception.
The chimera takes on more than one qualia within different parts of the body. For instance, the arms can be tree limbs while the legs are rooster legs.
The stacked body will have one qualia base and a secondary or tertiary on top of it. For instance, we might take on the qualia of zombie, which will serve as the foundation, but on top of this, we might add yogi. If a mask were to stand for embodiment, we can think of one mask on top of another.
Unlike the stacked body or chimera, the hybrid does not have separately defined qualias but instead are merged together into a new qualia like an offspring not unlike yellow and blue making green. A little bouncy ball and a leech might turn into a fat homunculus that bounces all over the place with fat suckers all over it.
These are qualia sceneries that shift from one scene to the other. For instance, if we have a camp fire, the fire will eventually burn out. The subbody part or cobody individual who were playing smoke may transform into air while the logs may transform into ash followed by enriched soil then a germinating flower seed, etc.
Exercise: Poem Recitation
Resonate with nature by first imitating the movements. You can also search for videos of any number of life forms.
The kingdoms of biology include: (1) Bacteria; (2) Protozoa; (3) Chromista; (4) Plante; (5) Fungi;(6) Animalia.
When Tatsumi Hijikata performed the weakened body in his last performance called Quiet House, he was in reality performing the vaporized body. Vaporization is the potential, invisible world body, which is of endless qualias. In the vaporized body performance, there are two things taking place: (1) The 3d world body that appears weak or in ash body or statue/freeze. (2) The multidimensional invisible world.
Hijikata was fond of Antonin Artaud of the Theater of Cruelty, and a term known as the body without organs (BwO) mirrors that of the vaporized body. Deleuze and Guattari were also fond of Artaud and make extensive use of the term as well. A & G say of the BwO: “The body without organs is not a dead body but a living body all the more alive and teeming once it has blown apart the organism and its organization.”² It is thus “alive and teeming” because it is in the multidimensional world.
Butoh-fu (Butoh Notation)
Butoh-fu is simply notating butoh qualias. It creates qualia sceneries (see above), and can make great use of qualia metamorphosis (see above). Butoh-fu is inherently poetic, which is why surrealistic or absurdist poetry is a great resource to mimic (see above). Example butoh-fu from Yukio Waguri entitled Ear Walk:
A big ear lies on the floor at the feet. Walk along the lines of this ear. Passing curves and slopes, walk into the depth of the ear. Suddenly, an eye grows on the tip of the index finger. The nose has also become an ear. Walk lazily along the walls of the ear. Slugs are crawling on the back. The ear traces the lines of its own self. Strange curves. Voice of vendors are heard from afar. Those were the last voices that were heard. The person is moved by the ear on the tip of the nose, by the eye under the chin, and by the ear between the legs. Hands wander around the labyrinth of hands aimlessly and infinitely. It enters King Solomon’s palace.³