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Topic: Tatsumi Hijikata

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	[No title]
		Hijikata worked with not only these kinds of words but with the books of some of his favorite authors from whom he acquired a sense of the world in the context of his new dance form.
		The true sense of Hijikata's work as a dancer is not the sorrowful expression of a depressed and repressed man in the after throws of a war torn homeland, but it is a expression of the important elements of his lifetime.
		As Hijikata began to dance he felt, as though there were no other sensation, that the feeling was the soul of the dance and that to dance this soul an emptiness of the body was necessary.
	www.butoh.net /DATJ.html (1858 words)

	II Journal: Sankai Juku: Butoh Dance from Japan
		Hijikata was officially outlawed as a "dangerous" performer by the prevailing powers in Japanese dance, and Butoh had begun.
		Hijikata was a mesmerizing performer, and he found support among the Japanese artistic elite in the tumultuous 1960s.
		This bizarreness was exemplified by Hijikata himself, with his shaven head and face painted white to hide human expression, an appearance American audiences have come to expect from all Butoh performers.
	www.umich.edu /~iinet/journal/vol4no2/sanjuk.html (1480 words)

	Butoh - Wikipedia, the free encyclopedia (Site not responding. Last check: 2007-09-21)
		Butoh is a contemporary Japanese dance movement, initially called Ankoku Butoh or Dance of Utter Darkness, by its originators, Tatsumi Hijikata and Ohno Kazuo.
		It is generally agreed that the first butoh piece was the 1959 performance of Hijikata's, Kinjiki, (Forbidden Colours), based on the novel of the same name by Yukio Mishima.
		In the post-war polictial climate artists such as Hijikata were concerned with the growing influx of American culture in Japan.The 1959 Japan Mutal Defense Treaty, a document that allowed the continuance of American military presence in Japan, caused a swell of protest through university, cafe, street life and artwork.
	www.encyclopedia-online.info /Butoh (262 words)

	BUTOH 2
		Hijikata is rather "animist" than "shamanist"; since he detests "communicability with spirit" of shamanism, which does not have something specific such as making body a thing.
		In Hijikata's case, being the choreographer and the dancer, there is a struggle for supremacy, or the split between the identity in the body and the objectivity in the body.
		In short, Hijikata's devotion, adherence to materiality, the "object" comes from the recognition of reconciliation with nature at a symbolic level ("correspondence" in symbolism) which is simply a pretense of reconciliation by internalization.
	homepage.mac.com /sakurah1/butoh2.html (3661 words)

	Akira Kasai Essay (Site not responding. Last check: 2007-09-21)
		Hijikata broke away from the control of modern logic by facing the negative side of human beings, an aspect that had not been dealt with before in contemporary dance.
		In this piece, Hijikata redefined the concept of physical body with his view that the human body was a container of enormous memories, from childhood to the moment just before one’s death.
		Hijikata's theory included a paradoxical structure that the expressions are not valid until deconstructing not just the theory of dance, but of human existence itself.
	www.mcachicago.org /MCA/Performance/akiraessay.html (3311 words)

	FESTIVAL INTERNATIONAL NOUVEAU CINÉMA NOUVEAUX MÉDIAS
		In presenting Kinjiki, a five-minute choreography, Tatsumi Hijikata revolutionized dance, rattled the staid Japanese Post-War mentality and exercised a profound influence on an entire generation of dancers and choreographers around the world.
		This program of four films, from the archives of the Tatsumi Hijikata Foundation, proposes a troubling incursion into the universe of this exceptional artist whom Jocelyne Montpetit, choreographer, dancer and initiator of the program, has had the good fortune to meet.
		She joined Hijikata a few years later and it is there that she ran into Kuniichi again, as he was participating in the long and fervent discussions between the artists and the intellectuals orchestrated by Hijikata.
	www.nouveaucinema.ca /eng/3_6_2.html (807 words)

	Eikoh Hosoe - Wikipedia, the free encyclopedia
		Through his friendships and artistic collaborations he is linked with other 1960s avant-garde artists such as the writer Mishima Yukio, and the dancer Hijikata Tatsumi.
		With Hijikata Tatsumi, Eikoh created Kamaitachi, a series of images that reference stories of a supernatural being--'weasel-sickle'--that haunted the Japanese countryside of Eikoh's childhood.
		In the photographs, Hijikata is seen as a wandering ghost mirroring the stark landscape and confronting farmers and children.
	en.wikipedia.org /wiki/Eikoh_Hosoe (237 words)

	Pacific Cinematheque Presents (Site not responding. Last check: 2007-09-21)
		Perhaps the most significant and radical art movement to emerge from Japan in the modern era, the startling form of avant-garde dance known as Butoh was born in May 1959 when Tatsumi Hijikata choreographed and performed a short five-minute piece at the 6th Festival of Young Dancers in Tokyo.
		Charged with such dangerous, transgressive eroticism, Hijikata's ghostly Butoh drew on the dark genius of Western writers such as Jean Genet and the Marquis de Sade, and was influenced as well by the innovative work of contemporary Kazuo Ohno, Butoh's other great dancer.
		A film of Hijikata's legendary 1968 solo piece, "Tatsumi Hijikata and Japanese." Suffused with disturbing violence and transgressive eroticism, the work represents the culmination of his past experimentations and the beginning of his new directions.
	www.cinematheque.bc.ca /hijikata.html (528 words)

	Dance of Darkness
		For Butoh pioneer, Tatsumi Hijikata (1928 –; 1986), the expression of the inner soul and the exploration of taboos were paramount.
		Hijikata’s dance form became known as Ankoku Butoh, or “dance of darkness,” later shortened to Butoh, literally “dance step” or “stomp.” Used during the Meiji era to refer to western-style, ballroom dancing being introduced to Japan, the word Butoh actually harks back to ancient Japan when it was used as a name for ritualized dancing.
		Hijikata threw paint on her and said, “Now no one can recognize you.” Kokoro’s Barbara Bourget says that applying body paint before a performance has a ritual feeling: “It would be hard to perform without it.
	www.langara.bc.ca /prm/2000/Butoh/Butoh.html (779 words)

	Butoh
		When dance pioneers Tatsumi Hijikata and Kazuo Ohno hooked up with the likes of novelist Yukio Mishima and photographer Eikoh Hosoe, the result was a frenetic burst of experimental artistic collaboration.
		Hijikata had studied classical, modern and jazz dance, as well as Neue Tanz, an expressionist method of dance introduced from Germany in the 1920s.
		Hijikata decided his dance should instead reflect the unromantically Spartan life of his native village in Akita Prefecture, located in Japan's austere, sun-starved northern Tohoku region, where each day centers on wresting a living from the soil.
	www.corvalliscommunitypages.com /newsheadlines/butohleft.htm (1734 words)

	Klub ŻAK w Gdańsku
		Hijikata’s lecture from 1985 was a vivid description of his childhood years in Tōhoku, and at the same time a postulate to return to the origins of butoh in order to protect its essence.
		As Hijikata underlined, the roots of his butoh lie in these childhood experiences - they were his initiation into the inner darkness of the body and into the fundamentally human existential struggle with the forces of nature, which he later on wanted to embody in his dance.
		The Festival was organised by Tatsumi Hijikata in co-operation with Japanese Cultural Centre (Nippon Bunka Zaidan).
	www.klubzak.com.pl /teatr_projekty_ang.html (3624 words)

	Dança Butoh
		Tatsumi Hijikata, criou e desenvolveu ações teatrais, performáticas, na década de 40, quando o Japão do pós-guerra sofria uma invasão cultural por parte do ocidente.
		Tatsumi Hijikata, created and it developed theatrical and performatic actions, in the 40's, when Japan of the postwar period suffered a cultural invasion on the part of the occident.
		It was at bars, nightclubs, cabarets and for the streets of the underground of Tokyo that Hijikata led off that in the sixties, that marginal form of expression, as it was considered, it had become call of Ankoku Butoh, it dances of the darkness.
	www.butoh.com.br /taxon/dancabutoh.html (1052 words)

	About Butoh
		Butoh burst upon the world in 1959 in Tokyo in a performance by Tatsumi Hijikata and Yoshito Ono that was immediately labeled scandalous by Japanese society.
		Tatsumi Hijikata (1928-1986) was a central figure in twentieth century arts.
		Here Hijikata developed his famous style of work in which he would speak to the dancers, improvising through a repertoire of hundreds of images, transformations that the dancers would move to.
	home.earthlink.net /~bdenatale/AboutButoh.html (652 words)

	Hijikata¡Çs Choreographic Note for his Butoh work
		Hijikata said: ¡ÈYou begin to move not because you would like to move but because some parts of your body itch you and irritate you.
		In his late years Hijikata presented a new concept of ¡Æweakening body¡Ç, which is the state of mind being completely discouraged and at a loss, and cannot do anything but accept everything as inevitable fate like the law of gravity.
		Hijikata¡Çs words in his last training, ¡ÈYour inner feeling is getting thinner and thinner to the extremity, Your outer feeling is getting higher and higher to the extremity¡É, command his dancers to transform their concepts of the internal human body.
	www.geocities.co.jp /Hollywood-Stage/9067/kayo-doc1.html (1916 words)

	butoh (Site not responding. Last check: 2007-09-21)
		Tatsumi Hijikata presented the first genuine Butoh performance in May of 1959.
		Hijikata became an outlaw dancer and the movement he called Ankoku Butoh was born.
		Kazuo Ohno and a small group of committed performers joined Hijikata to continue developing this avant-garde form and ultimately create a unique form of art that is both universal and controversial in its manifestation.
	www.evergreen.edu /expressions/Pages/EventsPgs/evDet4.html (539 words)

	HeadLight Journal: Butoh and the Art of Transformation (Site not responding. Last check: 2007-09-21)
		Hijikata also trained his dancers and choreographed works using a method called butoh-fu(butoh notation), which used words to surround the dance.
		Hijikata would often beat a small drum and utter a stream of poetic words before a butoh session.
		Hijikata's method was not used to provoke mannerisms or pantomime.
	www.headlightjournal.com /essays/butoh/butoh_contents_page/butoh_contents.html (2615 words)

	Waring article
		Hijikata remembered vividly the day that his older sister was sold into prostitution" (6).
		"In it, Hijikata eliminated many of the supports upon which mainstream dance leaned at that time: music (the dance was performed in complete silence), all interpretive program notes, and any dance techniques which went beyond what he felt were the realistic limits of the 'natural' body" (10).
		Hijikata and Ohno set out to create a dance form that was entirely new, constructed by the rejection of traditional Japanese dance and Western modern dance.
	www.sbc.edu /honors/HJSpr03/Waring.htm (1775 words)

	Japan Sessions (Site not responding. Last check: 2007-09-21)
		Hijikata Tatsumi, acclaimed originator of the art form known as butoh or ankoku butoh (dance of darkness), ceased to perform onstage in 1974.
		Later Hijikata began to place a premium on experiencing the pain of others manifest in the idea that the prerequisite to producing butô was an attitude of being jealous of a badly injured dog.
		Finally, Hijikata began to talk about the "emaciated body" by which he appears to have meant the aged and infirm body that has been shaped by prolonged interaction with an environment.
	www.aasianst.org /absts/2005abst/japan/j-186.htm (1096 words)

	Tate Modern \| Film \| Rebellion of the Body
		Tatsumi Hijikata (1928–86) was an originator and the most significant choreographer of Butoh, an experimental and influential Japanese dance form.
		Interested in decay and the dark side of history, Hijikata believed in the power of images to evoke movements and used gestures to investigate memory.
		Sullivan shares with Hijikata an interest in the interplay between image and movement, and in how various texts and devices can be employed to generate and determine the behaviour of performers.
	www.tate.org.uk /modern/eventseducation/film/rebellionofthebodytatsumihijikata4492.htm (161 words)

	Don McLeod - History of Butoh
		Hijikata was dissatisfied with the Japanese modern dance scene, feeling that it was merely a copy of the work being done in the West.
		Hijikata believed that by distorting the body, and by moving slowly on bent legs he could get away from the traditional idea of the beautiful body, and return to a more organic natural beauty.
		The grown-ups he watched worked long hours in the rice fields, and as a result, their bodies were often bent and twisted from the ravages of the physical labor.
	www.zenbutoh.com /history.htm (1300 words)

	Kyodo News - Story (Site not responding. Last check: 2007-09-21)
		Butoh is said to have started in 1959 when two artists Tatsumi Hijikata (1928-1986) and Yoshito Ohno costarred in a stage play titled ''Kinjiki,'' which refers to the color of dye for clothes such as orange, yellow and dark green which was authorized for use by the Imperial Court in ancient days.
		Avant-garde dancing titled ''Hijikata Tatsumi and Japanese -- Rebellion of the Flesh'' was performed in October 1968, winning the hearts and minds of young people at the time.
		Hijikata died in 1986 at the age of 57.
	home.kyodo.co.jp /modules/fstStory/index.php?storyid=272887 (888 words)

	art media K.Y. ::: shop:::CINEDANCE
		With the main performers: Tatsumi Hijikata and Kazuo Ohno, the film has the highlights such as Butohs of a soldier by Hijikata and a mad woman by Ohno.
		Another Cine Dance, "Rose Colored Dance" by Tatsumi Hijikata, the creator of Butoh dance, a modern dance of Japan, is a classic of Butoh.
		The highlight is the duet of Hijikata and Ohno, a rare appearance of two main characters of Butoh together, who performed a "gay" dance of two male figures with tenderness and wildness at the same time.
	www.amky.org /english/shop/cinedance.html (471 words)

	Amazon.co.uk: Hijikata: Revolt of the Body: Books: Stephen Barber
		Tatsumi Hijikata (1928-86) invented the revolutionary performance art 'Ankoku Butoh' - now celebrated worldwide as one of the most innovative and haunting contemporary art forms.
		Hijikata is the supreme figure in the last half-century of Japan's experimental culture, and remains a seminal and inspirational presence there for artists, choreographers, film-makers, musicians and writers.
		This essential study of Hijikata is the first-ever account of his life and work in English, and is based on extensive interviews with his surviving collaborators.
	www.amazon.co.uk /Hijikata-Revolt-Body-Stephen-Barber/dp/1840681446 (576 words)

	Tatsumi Hijikata - TheBestLinks.com - Japan, March 9, 1928, 1986, ...
		Tatsumi Hijikata - TheBestLinks.com - Japan, March 9, 1928, 1986,...
		Tatsumi Hijikata, Japan, March 9, 1928, 1986, Butoh
		Tatsumi Hijikata (born March 9, 1928 - 1986) is the founder of new genre of mysterious dance performance art called Butoh from Japan.
	www.thebestlinks.com /Tatsumi_Hijikata.html (126 words)

	PEN American Center - Eikoh Hosoe: Subject Matter
		Tatsumi Hijikata, one of my great friends, was the originator of Butoh, a form of dance that is now known worldwide.
		Tatsuhiko Shibusawa, a novelist and authority on the Marquis de Sade, was close to both Mishima and Hijikata; he wrote that Hijikata had thrilled Mishima.
		The photographs of Hijikata to which Mishima referred were from a thin catalogue for Hijikata’s dance performance titled “Eikoh Hosoe’s photographic collection dedicated to Tatsumi Hijikata,” and it included a number of images of Hijikata selected from the series “Man and Woman” that I photographed between 1959 and 1960.
	www.pen.org /viewmedia.php/prmMID/1159/prmID/516 (1531 words)

	Flash Review Journal -- Tokyo
		The troupe of 15 dancers, led by Hijikata's widow Akiko Motofuji, commenced with a compelling procession of demonic and ethereal figures.
		Though the technique of Hijikata's style of Butoh is hard to define on a superficial level, it is apparent when an experienced practitioner is onstage.
		He and Hijikata had been kicked out of the Dance Association over 40 years ago for that original performance, considered brutal and alarmingly homosexual at the time.
	www.danceinsider.com /f2003/f0212_1.html (1728 words)

	ballettanz – europe's leading dance magazine
		Your time with Tatsumi Hijikata coincided with the period when Hijikata was trying to compile his work, harvesting through years of avant-garde experimentalism and his subsequent investigations into the body, and when he began to study traditional Japanese performing arts again.
		Hijikata's artistic curiosity was about to lead him to the seed of dance, as a precursor of art, contained in the cellular memories of farmers' bodies, in Tohoku...
		You remember Hijikata's saying, "My sister wants to stand up, in spite of my intention to sit down." I think that he was commenting on his own sensation of slipping from this reality.
	www.ballet-tanz.de /en/ausg-text04.html (2735 words)

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