Editing Butoh (section)

==History==
[[File:Sankai Juku.jpg|thumb|Butoh performers]]
Butoh first appeared in post-[[World War II]] Japan in 1959, under the collaboration of [[Tatsumi Hijikata]] and [[Kazuo Ohno]], "in the protective shadow of the 1950s and 1960s avant-garde".<ref>{{cite journal|last=Sanders|first=Vicki|title=Dancing and the Dark Soul of Japan: An Aesthetic Analysis of "Butō"|journal=Asian Theatre Journal|date=Autumn 1988|volume=5|issue=2|pages=148–163|jstor=25161489}}</ref> A key impetus of the art form was a reaction against the Japanese dance scene then, which Hijikata felt was overly based on imitating the West and following traditional styles like [[Noh]]. Thus, he sought to "turn away from the Western styles of dance, ballet and modern",<ref name="Sanders 152"/> and to create a new aesthetic that embraced the "squat, earthbound physique... and the natural movements of the common folk".<ref name="Sanders 152"/> This desire found form in the early movement of {{Nihongo|"ankoku butō"|暗黒舞踏}}. The term means "dance of darkness", and the form was built on a vocabulary of "crude physical gestures and uncouth habits... a direct assault on the refinement (''miyabi'') and understatement (''shibui'') so valued in Japanese aesthetics."<ref>{{cite journal|last=Sanders|first=Vicki|title=Dancing and the Dark Soul of Japan: An Aesthetic Analysis of "Butō"|journal=Asian Theatre Journal|date=Autumn 1988|volume=5|issue=2|page=149|jstor=25161489}}</ref>

The first butoh piece, ''Forbidden Colors (禁色, Kinjiki)'' by [[Tatsumi Hijikata]], premiered at a [[dance festival]] in 1959. It was based on the [[Forbidden Colors|novel of the same name]] by [[Yukio Mishima]]. It explored the taboo of [[male homosexuality|homosexuality]] and ended with a live [[chicken]] being held between the legs of Kazuo Ohno's son Yoshito Ohno, after which Hijikata chased Yoshito off the stage in darkness. Mainly as a result of the audience outrage over this piece, Hijikata was banned from the festival, establishing him as an [[iconoclasm|iconoclast]].

The earliest butoh performances were called (in [[English language|English]]) "Dance Experience". In the early 1960s, Hijikata used the term {{Nihongo|"Ankoku-Buyou"|暗黒舞踊|extra=dance of darkness}} to describe his dance. He later changed the word "buyo", filled with associations of Japanese classical dance, to "butoh", a long-discarded word for dance that originally meant European [[ballroom dancing]].<ref name="Kurihara, Nanako 1996">Kurihara, Nanako.  ''The Most Remote Thing in the Universe: Critical Analysis of Hijikata Tatsumi's Butoh Dance''.  Diss.  New York U, 1996.  Ann Arbor: UMI, 1996.  9706275</ref>

In later work, Hijikata continued to subvert conventional notions of dance. Inspired by writers such as Yukio Mishima (as noted above), [[Comte de Lautréamont]], [[Antonin Artaud]], [[Jean Genet]] and [[Marquis de Sade]], he delved into grotesquerie, darkness, and decay. At the same time, Hijikata explored the transmutation of the human body into other forms, such as those of animals. He also developed a poetic and surreal choreographic language, {{Nihongo|''butoh-fu''|舞踏譜|extra=''fu'' means "notation" in Japanese}}, to help the dancer transform into other states of being.

The work developed beginning in 1960 by [[Kazuo Ohno]] with Tatsumi Hijikata was the beginning of what now is regarded as "butoh". In Nourit Masson-Sékiné and Jean Viala's book ''Shades of Darkness'',<ref>{{cite web|url=http://nouritms.fr/ouvrages.htm|title=Publications|website=nouritms.fr|access-date=20 April 2018}}</ref> Ohno is regarded as "the soul of butoh", while Hijikata is seen as "the architect of butoh". Hijikata and Ohno later developed their own styles of teaching. Students of each style went on to create different groups such as [[Sankai Juku]], a Japanese dance troupe well known to fans in North America.

Students of these two artists have been known to highlight the differing orientations of their masters. While Hijikata was a fearsome technician of the nervous system influencing input strategies and artists working in groups, Ohno is thought of as a more natural, individual, and nurturing figure who influenced solo artists.

Starting in the early 1980s, butoh experienced a renaissance as butoh groups began performing outside Japan for the first time; at this time the style was marked by "full body paint (white or dark or gold), near or complete nudity, shaved heads, grotesque costumes, clawed hands, rolled-up eyes and mouths opened in silent screams."<ref>{{cite news|last1=Loke|first1=Margarett|title=Butoh: Dance of Darkness|url=https://www.nytimes.com/1987/11/01/magazine/butoh-dance-of-darkness.html?pagewanted=all|work=The New York Times|date=1 November 1987}}</ref><ref>{{cite news|last1=Tanaka|first1=Nobuko|title='Crazy Camel' helps butoh over the hump|url=http://www.japantimes.co.jp/culture/2016/01/23/stage/crazy-camel-helps-butoh-hump/#.V_cLJJMrKV4|work=The Japan Times|date=January 23, 2016}}</ref> Sankai Juku was a touring butoh group; during one performance by Sankai Juku, in which the performers hung upside down from ropes from a tall building in [[Seattle]], one of the ropes broke, resulting in the death of a performer. The footage was played on national news, and butoh became more widely known in America through the tragedy.<ref>{{Cite web|url=http://www.kyotojournal.org/interviews/dancekitchen.html|archiveurl=https://web.archive.org/web/20080704110328/http://www.kyotojournal.org/interviews/dancekitchen.html|url-status=dead|title="The Dance: Sankai Juku Opens", Anna Kisselgoff, ''New York Times''|archivedate=July 4, 2008}}</ref> A [[PBS]] documentary of a butoh performance in a cave without an audience further broadened awareness of butoh in America.

In the early 1990s, [[Koichi Tamano]] performed atop the giant drum of [[San Francisco Taiko Dojo]] inside [[Grace Cathedral, San Francisco]], in an international religious celebration.{{citation needed|date=September 2008}}

There is a theatre in Kyoto, Japan, called the [[Kyoto Butoh-kan]], which attempts to be dedicated to regular professional butoh performances.<ref>{{Cite news|url=http://www.japantimes.co.jp/culture/2016/07/07/stage/new-butoh-venue-aims-intimacy/#.WF9kG7F7GRs|title=New butoh venue aims for intimacy {{!}} The Japan Times|newspaper=The Japan Times|language=en-US|access-date=2016-12-25}}</ref><ref>{{Cite news|url=https://www.japantoday.com/category/arts-culture/view/worlds-first-dedicated-butoh-theater-to-open-in-kyoto|title=World's first dedicated Butoh theater to open in Kyoto|newspaper=Japan Today|access-date=2016-12-25}}</ref>

===Debate===
There is much discussion about who should receive the credit for creating butoh. As artists worked to create new art in all disciplines after World War II, Japanese artists and thinkers emerged from economic and social challenges that produced an energy and renewal of artists, dancers, painters, musicians, writers, and all other artists.

A number of people with few formal connections to Hijikata began to call their own idiosyncratic dance "butoh". Among these are {{Nihongo|Iwana Masaki|岩名雅紀}}, and Teru Goi.<ref>Kuniyoshi, Kazuko.  ''An Overview of the Contemporary Japanese Dance Scene''.  Tokyo: The Japan Foundation, 1985; Viala, Jean.  Butoh: Shades of Darkness.  Tokyo: Shufunotomo, 1988.</ref> Although all manner of systematic thinking about butoh dance can be found, perhaps Iwana Masaki most accurately sums up the variety of butoh styles:

<blockquote>While 'Ankoku Butoh' can be said to have possessed a very precise method and philosophy (perhaps it could be called 'inherited butoh'), I regard present-day butoh as a 'tendency' that depends not only on Hijikata's philosophical legacy but also on the development of new and diverse modes of expression.

The 'tendency' that I speak of involved extricating the pure life which is dormant in our bodies.<ref name="Iwana">Iwana, Masaki. ''The Dance and Thoughts of Masaki Iwana''. Tokyo: Butoh Kenkyuu-jo Hakutou-kan, 2002.</ref></blockquote>

Hijikata is often quoted saying what opposition he had to a codified dance: "Since I believe neither in a dance teaching method nor in controlling movement, I do not teach in this manner."<ref>quoted in Viala 186</ref> However, in the pursuit and development of his own work, it is only natural that a "Hijikata" style of working and, therefore, a "method" emerged. Both Mikami Kayo and Maro Akaji have stated that Hijikata exhorted his disciples not to imitate his own dance when they left to create their own butoh dance groups. If this is the case, then his words make sense: There are as many types of butoh as there are butoh choreographers.

===New Butoh===
In 2000 [[Sayoko Onishi]] established in Palermo, Italy where she founded the International Butoh Academy at the presence of master and butoh founder Yoshito Ohno. Sayoko Onishi and Yoshito Ohno are credited as being the first butoh choreographers to speak about New Butoh style. The academy name was changed to New Butoh School in 2007. In 2018 the New Butoh School established in [[Ruvo di Puglia]], Italy.[https://www.newbutohschool.com New Butoh® School - La prima scuola di danza New Butoh al mondo]