{"id":4917,"date":"2024-01-10T17:13:50","date_gmt":"2024-01-10T16:13:50","guid":{"rendered":"https:\/\/universvoyage.com\/?p=4917"},"modified":"2026-02-02T17:08:38","modified_gmt":"2026-02-02T16:08:38","slug":"buto-dance-as-a-journey-of-initiation","status":"publish","type":"post","link":"https:\/\/universvoyage.com\/en\/le-buto-la-danse-comme-voyage-initiatique\/","title":{"rendered":"The But\u014d: dance as a journey of initiation"},"content":{"rendered":"<p><br>But\u014d is a contemporary dance form founded in the 1960s by Japanese dancers Tatsumi Hijikata (1928-1986) and Kazuo \u014cno (1906-2010). Hijikata created a transcultural, transgressive and revolutionary form of expression, rejecting institutionalised artistic styles, but sometimes referring to his cultural heritage. He called his art <em>ankoku but\u014d<\/em> or dance of darkness.<\/p><div id=\"ez-toc-container\" class=\"ez-toc-v2_0_82_2 counter-hierarchy ez-toc-counter ez-toc-white ez-toc-container-direction\">\n<div class=\"ez-toc-title-container\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<span class=\"ez-toc-title-toggle\"><\/span><\/div>\n<nav><ul class='ez-toc-list ez-toc-list-level-1' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/universvoyage.com\/en\/le-buto-la-danse-comme-voyage-initiatique\/#La_raison_detre_du_buto_le_corps\" >The raison d'\u00eatre of but\u014d: the body<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/universvoyage.com\/en\/le-buto-la-danse-comme-voyage-initiatique\/#%C2%AB_Une_technique_sacree_%C2%BB\" >\"A sacred technique<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/universvoyage.com\/en\/le-buto-la-danse-comme-voyage-initiatique\/#Ko_Murobushi_lun_des_principaux_heritiers_de_la_vision_originale_de_Tatsumi_Hijikata\" >K\u014d Murobushi, one of the main inheritors of Tatsumi Hijikata's original vision<\/a><\/li><\/ul><\/nav><\/div>\n\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><a href=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Zara-173-Copier.jpg\" data-rel=\"lightbox-image-0\" data-rl_title=\"Ariadone. Zarathoustra. Chor\u00e9graphie de Carlotta Ikeda et Ko Murobushi. \u00a9 Laurencine Lot.\" data-rl_caption=\"Ariadone. Zarathoustra. Chor\u00e9graphie de Carlotta Ikeda et Ko Murobushi. \u00a9 Laurencine Lot.\" title=\"Ariadone. Zarathustra. Choreography by Carlotta Ikeda and Ko Murobushi \u00a9 Laurencine Lot.\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"696\" src=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Zara-173-Copier-1024x696.jpg\" alt=\"Ariadone. Zarathustra. Choreography by Carlotta Ikeda and Ko Murobushi \u00a9 Laurencine Lot.\" class=\"wp-image-4926\" srcset=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Zara-173-Copier-1024x696.jpg 1024w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Zara-173-Copier-300x204.jpg 300w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Zara-173-Copier-768x522.jpg 768w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Zara-173-Copier-18x12.jpg 18w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Zara-173-Copier-600x408.jpg 600w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Zara-173-Copier-36x24.jpg 36w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Zara-173-Copier.jpg 1130w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><em>Ariadone Company. Zarathustra. Choreography by Carlotta Ikeda and K\u014d Murobushi. As well as the opening photo. 1982. Laurencine Lot.<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p><br>During this period, from the second half of the 1960s to the early 1970s, Japan was trying to recover from its first defeat in over 2,000 years of history. Bruised by the tragedy of Hiroshima, society aspired to Western modernity, while at the same time being prey to confusion, the violence of student movements and the advent of the underground that permeated Tokyo's performing arts scene. It was in this context of protest and artistic ferment that Hijikata invented a cosmogony that challenged the values of the modern consumerist world, creating a dance in which the body is a sacrificial body, where the taboos of death and eroticism are at the heart of this antidance (1), where <em>\"the antagonism between life and death is expressed in an intense and concentrated way\".<\/em>he says. His first choreographic work, Kinjiki (1959), a homosexual ritual, was an earthquake and scandalised some of the public, homosexuality still being a very taboo subject in Japan. With his head shaved - a practice later adopted by but\u014d dancers - his torso and face painted black, dressed in grey trousers and barefoot, Hijikata enters the stage running in a circle. He holds a chicken and joins a pale-skinned young ephebe dressed only in briefs (Oshito \u014cno, the son of dancer Kazuo \u014cno). This chicken, symbolising sex and the sacred, ends up strangled between Oshito's legs. While the second half is played out in total darkness where we can make out the bodies rolling around, and the audience hears erotic moans and \"I love you's\" shouted by the dancer. Ten sultry, powerful and fascinating minutes that would launch the work of Hijikata and generations of but\u014d dancers.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"La_raison_detre_du_buto_le_corps\"><\/span>The raison d'\u00eatre of but\u014d: the body<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><a href=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/DSC_4315-Copier.jpg\" data-rel=\"lightbox-image-1\" data-rl_title=\"Ko Murobushi. Faux Pas. 2014.. \u00a9 Laurent Ziegler.\" data-rl_caption=\"Ko Murobushi. Faux Pas. 2014.. \u00a9 Laurent Ziegler.\" title=\"Ko Murobushi. Faux Pas. 2014.. Laurent Ziegler.\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/DSC_4315-Copier-1024x683.jpg\" alt=\"Ko Murobushi. Faux Pas. 2014.. Laurent Ziegler.\" class=\"wp-image-4920\" srcset=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/DSC_4315-Copier-1024x683.jpg 1024w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/DSC_4315-Copier-300x200.jpg 300w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/DSC_4315-Copier-768x512.jpg 768w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/DSC_4315-Copier-18x12.jpg 18w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/DSC_4315-Copier-600x400.jpg 600w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/DSC_4315-Copier-36x24.jpg 36w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/DSC_4315-Copier.jpg 1151w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><em>K\u014d Murobushi. Faux Pas. 2014. Laurent Ziegler.<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p>This choreographic form is close to performance. It carries with it something excessive, obscene, extravagant, fascinating and poetic all at once. Rejecting all stereotypes, Hijikata, his friend Kazuo \u014cno and their students (Yoshito \u014cno, Y\u014dko Ashikawa, Akaji Maro and K\u014d Murobushi among others), present on stage the uncomfortable experience of the introspective work they carry out on themselves, exposing to the public gaze their bodies traversed at once by animal impulses, slow and spasmodic movements, intimate suffering and black beauty. Bodies that can be described as <em>\"Seismic<\/em>. All the energy of the dancers is concentrated in minimalist movements, a very slow walk, a stiff and tense body, the prototype of the male body in the but\u014d. In his creations, Hijikata develops an aesthetic that encompasses ugliness, deformity, fright, images of death or illness, mixing the erotic and the abject, the masculine and the feminine, the dark and the luminous. In total collision with the theatrical act and the narrative surrounding Japanese identity. His dance, he said, <em>\"extends the concept of \"human<\/em>. <em>I base my dance on the discovery of the possibilities of metamorphosis of the human body into everything, including animals, plants and inanimate objects\".<\/em>. Inspired by the writings of Jean Genet, Antonin Artaud, Sade and Georges Bataille, and drawing on the traumatic sources of his rural childhood, he made the feeling of alienation and strangeness he felt when he landed in Tokyo - passing for a hick and a poor dancer in the eyes of those who didn't understand his originality - the basis of his artistic work.<br><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"%C2%AB_Une_technique_sacree_%C2%BB\"><\/span>\"A sacred technique<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><a href=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Waiting-130-Copier.jpg\" data-rel=\"lightbox-image-2\" data-rl_title=\"Carlotta Ikeda. Waiting. \u00a9 Laurencine Lot.\" data-rl_caption=\"Carlotta Ikeda. Waiting. \u00a9 Laurencine Lot.\" title=\"Carlotta Ikeda. Waiting. Laurencine Lot.\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Waiting-130-Copier-1024x683.jpg\" alt=\"Carlotta Ikeda. Waiting. Laurencine Lot.\" class=\"wp-image-4921\" srcset=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Waiting-130-Copier-1024x683.jpg 1024w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Waiting-130-Copier-300x200.jpg 300w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Waiting-130-Copier-768x512.jpg 768w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Waiting-130-Copier-18x12.jpg 18w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Waiting-130-Copier-600x400.jpg 600w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Waiting-130-Copier-36x24.jpg 36w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Waiting-130-Copier.jpg 1152w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\"><em>Carlotta Ikeda. Waiting. 1996. Laurencine Lot.<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p><br>A marginal artist, tough and very demanding, going so far as to bully his dancers, <em>\"Hijikata will consciously use the heritage of outcast artists (2) to concentrate the transformational power of his art.<\/em>reveals Kuhihara Nanako (3). After the experimental but\u014d of his beginnings, in which he smeared black grease on his torso and face, he used white make-up for the bodies: shironuri make-up (painting oneself white), present in kabuki and also in older theatre. This white make-up, a symbol of the sacred, death and femininity, has become a feature of but\u014d, and is the edge that both outlines and abstracts the real body. <em>\"Nudity is probably the ideal way of emphasising the importance of the directness of the body. However (at the same time, I repeated the importance of distance), the nudity of the shironuri doubles the distance between normally clothed civilisation (laws, system, morals) and the glorification of the body itself (body-building, group exercises, jazz dance, disco dance, etc.) which is a fascist tendency.\"<\/em>says dancer and choreographer K\u014d Murobushi (1947-2015). The dancer brings with him a provocative aesthetic <em>\"It is a sacred technique that assimilates antagonisms. It is a sacred technique that assimilates antagonisms\".<\/em>he sums up.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><a href=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Utt-39-Copier.jpg\" data-rel=\"lightbox-image-3\" data-rl_title=\"Carlotta Ikeda. Utt. \u00a9 Laurencine Lot.\" data-rl_caption=\"Carlotta Ikeda. Utt. \u00a9 Laurencine Lot.\" title=\"Carlotta Ikeda. Utt \u00a9 Laurencine Lot.\"><img loading=\"lazy\" decoding=\"async\" width=\"526\" height=\"768\" src=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Utt-39-Copier.jpg\" alt=\"Carlotta Ikeda. Utt \u00a9 Laurencine Lot.\" class=\"wp-image-4925\" srcset=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Utt-39-Copier.jpg 526w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Utt-39-Copier-205x300.jpg 205w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Utt-39-Copier-8x12.jpg 8w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Utt-39-Copier-411x600.jpg 411w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Utt-39-Copier-16x24.jpg 16w\" sizes=\"auto, (max-width: 526px) 100vw, 526px\" \/><\/a><figcaption class=\"wp-element-caption\"><em>Carlotta Ikeda. Utt. 1985. Laurencine Lot.<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p><br>There is also the work on the face and eyes found in n\u014d theatre, where the actor performing without a mask can make his face look like a mask. Dancers can close their eyelids, roll their eyes back or squint (which in Japan evokes spectres or death) to show the whites of their eyes, an attitude used in the style <em>aragato <\/em>(rough), an acting style from Kabuki theatre.<br>After 1973, Hijikata stopped performing and devoted himself to directing until his death, concentrating on the intimate and fundamental aspects of his art. He developed a body of techniques that are still used today by but\u014dka (but\u014d dancers). Gifted with great charisma and a <em>\"power of bewitchment<\/em>According to K\u014d Murobushi, he teaches his dancers a way of being in their own bodies, awakening them to their own sensations so that they can express themselves. <em>\"a powerful presence<\/em> that is transmitted intensely to the audience. The choreographer forces the body to become empty of everything that attaches it to the outside world. The body is then ready to move, to translate what is experienced in the interior of the being. <em>\"I don't try to explain it, I know it exists, I live with it... It is perhaps this wave that is the movement of my dance\".<\/em>says dancer and choreographer Carlotta Ikeda (4). The mind can finally wander and let the body express itself. Waiting for the end to come or a suspended moment? The spectator no longer knows. They too are waiting, holding their breath, captivated by the powerful presence of the dancer or dancers. The dancer moves very slowly, seemingly in a trance. The air is held for a moment, then a cry or a giggle bursts out. There is nothing to understand that is not already there. <em>\"The spectator must be transformed by the experience, as in a ritual\".<\/em>, says Hijikata.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><a href=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/LSZ_3084-Copier.jpg\" data-rel=\"lightbox-image-4\" data-rl_title=\"Ko Murobushi. Faux as. 2014. \u00a9 Laurent Ziegler.\" data-rl_caption=\"Ko Murobushi. Faux as. 2014. \u00a9 Laurent Ziegler.\" title=\"Ko Murobushi. Faux as. 2014. Laurent Ziegler.\"><img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"768\" src=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/LSZ_3084-Copier.jpg\" alt=\"Ko Murobushi. Faux as. 2014. Laurent Ziegler.\" class=\"wp-image-4924\" srcset=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/LSZ_3084-Copier.jpg 512w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/LSZ_3084-Copier-200x300.jpg 200w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/LSZ_3084-Copier-8x12.jpg 8w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/LSZ_3084-Copier-400x600.jpg 400w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/LSZ_3084-Copier-16x24.jpg 16w\" sizes=\"auto, (max-width: 512px) 100vw, 512px\" \/><\/a><figcaption class=\"wp-element-caption\"><em>K\u014d Murobushi. Faux Pas. 2014. Laurent Ziegler.<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p><br>Training dancers is difficult, sometimes painful, and its aim is to radically question the body, to bring it back to a state that precedes learning. The aim is to bring them to a deep awareness of their physicality before beginning any movement. They need to concentrate on their inner perceptions and not be preoccupied with appearances. Controlling all their muscles, making their back muscles undulate, practising various types of steps, moving forward on tiptoe, gliding imperceptibly over the floor, remaining motionless while making micro-movements, etc. Unlike Western dances, the butoka body is involved in its entirety, organically, emotionally and physically. <em>\"But\u014d starts from what can only stand still, from what all dance has declared impossible. But\u014d dancers listen to a suffocating lullaby in a cradle burning with flames.\"<\/em>explains K\u014d Murobushi.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Ko_Murobushi_lun_des_principaux_heritiers_de_la_vision_originale_de_Tatsumi_Hijikata\"><\/span>K\u014d Murobushi, one of the main inheritors of Tatsumi Hijikata's original vision<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><a href=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/DSC_4267-Copier.jpg\" data-rel=\"lightbox-image-5\" data-rl_title=\"Ko Murobushi. Faux Pas. 2014. \u00a9 Laurent Ziegler.\" data-rl_caption=\"Ko Murobushi. Faux Pas. 2014. \u00a9 Laurent Ziegler.\" title=\"Ko Murobushi. Faux Pas. 2014. Laurent Ziegler.\"><img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"768\" src=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/DSC_4267-Copier.jpg\" alt=\"Ko Murobushi. Faux Pas. 2014. Laurent Ziegler.\" class=\"wp-image-4927\" srcset=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/DSC_4267-Copier.jpg 512w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/DSC_4267-Copier-200x300.jpg 200w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/DSC_4267-Copier-8x12.jpg 8w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/DSC_4267-Copier-400x600.jpg 400w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/DSC_4267-Copier-16x24.jpg 16w\" sizes=\"auto, (max-width: 512px) 100vw, 512px\" \/><\/a><figcaption class=\"wp-element-caption\"><em>Ko Murobushi. Faux Pas. 2014. Laurent Ziegler.<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p> \" <em>When I saw Hijikata danser en 1968: Hijikata Tatsumi et les Japonais: R\u00e9volte de la chair (Nikutai no Hanran) (5), it was a total shock. It was the first time I'd seen something really new. It was the first turning point in my life and I decided to become a but\u014d dancer. In Japan, we say that in life, there are two opportunities to change, to tip over. This was the first.<\/em>he confided to me after a performance. In this show, Hijikata enters the stage on a palanquin, then dances naked, frenetically, shaking with spasmodic movements, with a golden phallus and a tuft of false hair hanging down, reminiscent of an extract from Antonin Artaud's H\u00e9liogabale ou l'anarchiste couronn\u00e9. Having eliminated all fat from his body by fasting for two months before his performance, his muscles and veins protrude from his body. At the end of the performance, Hijikata ties himself up with ropes and is hoisted above the stage, like an inverted Christ. The audience was spellbound and gave him a standing ovation.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><a href=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Aiamour-116-Copier.jpg\" data-rel=\"lightbox-image-6\" data-rl_title=\"Carlotta Ikeda et Ko Murobushi. A\u00cf-Amour. 2004. \u00a9 Laurencine Lot.\" data-rl_caption=\"Carlotta Ikeda et Ko Murobushi. A\u00cf-Amour. 2004. \u00a9 Laurencine Lot.\" title=\"Carlotta Ikeda and Ko Murobushi. A\u00cf-Amour. 2004. Laurencine Lot.\"><img loading=\"lazy\" decoding=\"async\" width=\"602\" height=\"768\" src=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Aiamour-116-Copier.jpg\" alt=\"Carlotta Ikeda and Ko Murobushi. A\u00cf-Amour. 2004. Laurencine Lot.\" class=\"wp-image-4928\" srcset=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Aiamour-116-Copier.jpg 602w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Aiamour-116-Copier-235x300.jpg 235w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Aiamour-116-Copier-9x12.jpg 9w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Aiamour-116-Copier-470x600.jpg 470w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLot-Aiamour-116-Copier-19x24.jpg 19w\" sizes=\"auto, (max-width: 602px) 100vw, 602px\" \/><\/a><figcaption class=\"wp-element-caption\"><em>Carlotta Ikeda and Ko Murobushi. A\u00cf-Amour. 2004. Laurencine Lot.<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p><br>Murobushi worked with Hijikata for some time, then founded the but\u014d group \"Dairakudakan\" with Akaji Maro (who continues to perform) and Uhio Amagatsu (founder of the Sankai Juku troupe, which developed a sophisticated theatrical style). Then, in 1974, he created the women's company \"Ariadone\" with Carlotta Ikeda (1941-2014), another major figure in but\u014d. After founding the men's but\u014d group \"Sebi\", with Ariadone he introduced but\u014d to Europe and contributed to its worldwide recognition with Le Dernier Eden - Porte de l'Au-Del\u00e0, which was a masterly success in Paris in 1978, followed by an extensive tour across Europe in 1981-1982. With her own all-female group, Ariadone, Carlotta Ikeda took it upon herself to dance naked, which was seen at the time as an attack on the morality of Japanese society. Many of her creations have been danced all over the world, where she reveals her art of metamorphosis with such refinement.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><a href=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/LSZ_3075-Copier.jpg\" data-rel=\"lightbox-image-7\" data-rl_title=\"Ko Murobushi. Performance. 2004. \u00a9 Laurent Ziegler.\" data-rl_caption=\"Ko Murobushi. Performance. 2004. \u00a9 Laurent Ziegler.\" title=\"Ko Murobushi. Performance. 2004. Laurent Ziegler.\"><img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"768\" src=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/LSZ_3075-Copier.jpg\" alt=\"Ko Murobushi. Performance. 2004. Laurent Ziegler.\" class=\"wp-image-4931\" srcset=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/LSZ_3075-Copier.jpg 512w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/LSZ_3075-Copier-200x300.jpg 200w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/LSZ_3075-Copier-8x12.jpg 8w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/LSZ_3075-Copier-400x600.jpg 400w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/LSZ_3075-Copier-16x24.jpg 16w\" sizes=\"auto, (max-width: 512px) 100vw, 512px\" \/><\/a><figcaption class=\"wp-element-caption\"><em>Ko Murobushi. Performance. 2004. Laurent Ziegler.<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p><br>As a faithful heir to Hijikata, Murobushi will continue his research and perform alone most of the time. A tireless traveller, running from one continent to another, he would amplify this darkness (<em>yami<\/em>) (6), the foundation of his bodily explorations. Every gesture is approached in a double movement of death and rebirth. <em>\"In my show, I always try to show a death that was able to live, and what is reversibly interchangeable in life in death. Most likely, my dance shows this chain (illness, death, ecstasy, madness, temptation, passion, love...) that is directed by darkness.\"<\/em> Ko Murobushi refuted the but\u014d show. <em>The but\u014d is not a show,\" he told me. Some very famous troupes protect themselves with sets and sophisticated staging. I hate that kind of but\u00f4. It is too far removed from the original but\u014d as founded by Hijikata and as I practise it. I refuse to take on a dancer who doesn't take risks. You have to learn to die in dance. To be alive at the same time as being a rock, a flower or the shadow of your own body. The ideal transformation would be to become something that doesn't exist, and to become nothing, you have to transform yourself into everything.<\/em><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><a href=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLotZara15-1-Copier-e1704965609755.jpg\" data-rel=\"lightbox-image-8\" data-rl_title=\"Carlotta Ikeda. Zarathoustra. \u00a9 Laurencine Lot.\" data-rl_caption=\"Carlotta Ikeda. Zarathoustra. \u00a9 Laurencine Lot.\" title=\"Carlotta Ikeda. Zarathustra. Laurencine Lot.\"><img loading=\"lazy\" decoding=\"async\" width=\"482\" height=\"702\" src=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLotZara15-1-Copier-e1704965609755.jpg\" alt=\"Carlotta Ikeda. Zarathustra. Laurencine Lot.\" class=\"wp-image-4933\" srcset=\"https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLotZara15-1-Copier-e1704965609755.jpg 482w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLotZara15-1-Copier-e1704965609755-206x300.jpg 206w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLotZara15-1-Copier-e1704965609755-8x12.jpg 8w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLotZara15-1-Copier-e1704965609755-412x600.jpg 412w, https:\/\/universvoyage.com\/wp-content\/uploads\/2024\/01\/PhotoLotZara15-1-Copier-e1704965609755-16x24.jpg 16w\" sizes=\"auto, (max-width: 482px) 100vw, 482px\" \/><\/a><figcaption class=\"wp-element-caption\">Carlotta Ikeda. Zarathustra. 1982. Laurencine Lot.<\/figcaption><\/figure>\n<\/div>\n\n\n<p><strong>Notes<\/strong><br>(1) In a country renowned for its erotic art, until 1995 it was forbidden to show hair or a naked body in photos or live, with the sexes being blacked out even in imported magazines.<br>(2) During the Edo period (1603-1868), kabuki and its performers were held in low esteem and assigned to particular districts that corresponded to the pleasure districts. It reached its apogee in the 18th and 19th centuries and was at the heart of popular culture. It was during this period that acting troupes took shape, gaining social visibility and organising themselves into families that have perpetuated their styles and repertoires to the present day. Attempts at censorship and discrimination continued until the Meiji era (1868-1912), because kabuki signified resistance to the established order and power through behaviour deemed anti-social, marginal or heretical. It portrayed a transgressive world seen as a threat to society, with suicides, erotic tableaux combining sex and death, demons and ghosts.<br>(3) <em>The Strangest Thing in the World, a critical analysis of Hijikata Tatsumi's but\u014d<\/em>Kuhihara Nanako, Les Presses du r\u00e9el, 2017.<br>(4) Interview by St\u00e9phane V\u00e9rit\u00e9 for the presentation of Waiting in 1997.<br>(5) <a href=\"https:\/\/www.youtube.com\/watch?v=hNV0T5zI7VI&amp;list=PLsAlwxLtUODS8uG0RPix-q6CE1s9qAAx-&amp;index=6\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/www.youtube.com\/watch?v=hNV0T5zI7VI&amp;list=PLsAlwxLtUODS8uG0RPix-q6CE1s9qAAx-&amp;index=6<\/a><br>(6) \"In Japanese, the word \"\u00a0<em>yamai <\/em>(disease) is linked to\u00a0<em>yami <\/em>(darkness)\" or \"\u00a0<em>yama <\/em>(mountain)\". <em>\"yamai\" makes us look into the abyss of death; it shows us the unknown and invisible part between life and death and brings us closer to what is considered \"yama\", the realm of the dead, in Japanese mythology\".<\/em>, explains Ko Murobushi.<\/p>\n\n\n\n<p><strong>Read<\/strong><br><em>Hijikata Tatsumi Thinking An Exhausted Body<\/em>Uno Kuniichi, Dijon: Les Presses Du R\u00e9el, 2017.<br><em>Carlotta Ikeda, But\u014d Dance and beyond<\/em>, Photographs by Laurencine Lot, Ed. Favre, 2005.<br><em>Aesthetics of Impossibility<\/em>, Katja Centonze, Ed. Cafoscarnina, 2022.<br><em>Frapper le sol avec ses mains<\/em>Tatsumi Hijikata sur la voie du but\u014d, C\u00e9cile Wagner, Actes Sud, 2016.<\/p>\n\n\n\n<p><strong>Text:<\/strong> Brigitte Postel<br><strong>Opening photo :<\/strong> Laurencine Lot<\/p>\n\n\n\n<p>This article appeared in Natives n\u00b013 <a href=\"https:\/\/www.revue-natives.com\/editions\/natives-n13\/#extraitnatives\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/www.revue-natives.com\/editions\/natives-n13\/#extraitnatives<\/a><\/p>","protected":false},"excerpt":{"rendered":"<p>But\u014d is a contemporary dance founded in the 1960s by Japanese dancers Tatsumi Hijikata (1928-1986) and Kazuo \u014cno (1906-2010). Hijikata created a transcultural, transgressive and revolutionary form of expression, rejecting institutionalised artistic styles, but sometimes referencing...<\/p>","protected":false},"author":5,"featured_media":4918,"comment_status":"open","ping_status":"open","sticky":true,"template":"","format":"standard","meta":{"footnotes":""},"categories":[139],"tags":[90,99,374,283,229,82],"class_list":["post-4917","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-japon","tag-art","tag-asie","tag-buto","tag-danse","tag-japon","tag-spiritualite"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.5 (Yoast SEO v27.5) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Le But\u014d : la danse comme voyage initiatique - Univers Voyage<\/title>\n<meta name=\"description\" content=\"Le But\u014d est une danse contemporaine fond\u00e9e dans les ann\u00e9es 1960 par les danseurs japonais Tatsumi Hijikata et Kazuo \u014cno. 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