Butoh (boo-TOE) is a slow-motion, labored dance form that creates an otherworldy, eerie visual and spiritual impact upon its audiences.  It originated in Tokyo during the late 1950s.  Tatsumi Hijikata (1928-1986) is credited as the "father" of Butoh.  He began dancing in the mountainous, rural farmlands of northern Japan where he grew up.  Later, the devastation of post-war Japan left him seeking higher truth and meaning to his life.  Western influences had rapidly invaded post-war Japan, including the popularization of western dances--ballet and modern.  Hijikata rebelled against these dances, feeling they could never reflect the Japanese sensibility and spirit.  Because he felt they were not in harmony with the Japanese body, he began experimenting with movement that rejected these aesthetics.  Contrary to the perfection and elitism of traditional Japanese theatre, he wove the elements of "imperfection" and ugliness into his dance.  In 1959, he premiered Butoh at a modern dance festival in Tokyo.  It was so shocking that the stage lights were turned off before its completion.  Butoh then became an underground, "avant garde" dance that appealed to the more eccentric young folks seeking to find a new voice.   And today, all styles of Butoh, and Butoh-influenced dance, can still be found all over the world.

 

Why White?

Western dance is seen as energy that fuels the muscles of a well-defined physique resulting in amazing rhythmic patterns of symmetry and predictability.  In contrast, Butoh is seen only when spiritual energy stimulates the body with unusual shapes, stillness, erratic timing or lack of timing—all of which challenge what is deemed “beautiful”.   We honor the origin of Butoh by wearing blotchy white body makeup.  This not only mimics kabuki theatre, but also brings awareness to both performer and viewer that we are each Spirit alive within a physical body.