The Deluge of Illusion | Varun
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Video Lecture
  10th International Butoh Festival Himalay

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 What's New?

Weekend Butoh theater 
We perform every weekend through the whole year!
Friday p.m. 3:00-5:00

Butoh Jam
Sunday p.m. 7:00-

by donation. Enjoy it!

Accepting Long and Short term co-reseachers!

March Starting 1 Year Course
March 4, 2019- December 7, 2019 ( 12 spaces Remained)

September Starting 1 Year Course
September 3, 2019- June 5, 2020 ( 15 spaces Remained)

The second semester 2018 starts on Monday, 3rd September.
Short term courses are one week to one month.
Long term courses are one semester to one year- three years.

Read more

Send mail

 Accepting Autumn Intensive course
Oct 1 -Nov 30, 2018
Mon-Fri. 10:00-5:00

Adam ____Ozerk

17th International Butoh festival Himalay

Nov 23 (Fri)-Dec 2 (Sun)
Every morning Butoh workshops
Every evening Butoh Performances
Free of Charge

Accepting Winter Intensive course
Dec 3 -Feb 22, 2019
Mon-Fri. 10:00-12:30


Winter course is half day, half price!
Any Monday you can start, with any duration!

Send mail

International Butoh Festival Himalaya

All Performers of the Festival
Crick Picture below, you can see their Videos.

Adam, Alessia, Alex,
Ashok, Dara, Emilia,
Gora, Gorka, Guneet,
Lee, Liere, Mohit,
Nabela, Ozerk, Prince,
Ripley, Ruusu, Samer,
Santeri, Tsukina, Tzaddi,
Varun, Vishal, Zalina, and more....

This year's Festival will be performed by the biggest 24 Butoh dancers in the history.
All Butoh Workshops and Performances is
Free of Charge!
Donation, Welcome!

 World Life Resonance Art
 Crick here to Open Butoh


Let's join in
Open Butoh Network

The following is a project I had on my mind since the beginning of the year, and it is finally ready to be launched to the public. This is a networking site and database specifically for Butoh. Another way in which to connect the world to Butoh. Over time, the network will get more and more streamlined to serve our needs as Butoh artists. Any thoughts or suggestions are encouraged because this is brand new. Sign up is very simple. Do share! Thanks also to Kevin Tzaddi Raison for helping make this happe

Visit the
and Let's join in it1

Contact Adam

School Journal

November Intensive course
Nov 19 - 22, 2018
Mon-Fri. 10:00-5:00


This week we deepened our connection with our subtle/subconscious bodies (subbodies) through breathbody method. We're beginning to form a new kind of relationship with our bodymind through re-communicating with our hidden joints and hidden muscles. Next week we will be working intensively on bringing this novel awareness in to creation process.

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 World Life Resonance Art
 Becoming-Nettle | Adam



Butoh Performance With Fresh Stinging Nettles

This performance is an homage to the stinging nettle. Stinging nettles have been a fascination of mine for over a year, but it has only been a month now since I really started adopting it as a plant teacher. I have not only been stinging myself (increasing the amount gradually), but have also been making tea from the leaves. My fascination with this plant is multi-faceted and multi-themed. To keep it short, the nettle is a power medicine as well as a rich nutrient. It has been used as a muscle/joint medicine as well as a banishing plant in shamanism (via stinging the subject). Like bee shamanism, I feel it can also serve as a potent form of acupuncture. This performance took place at the Subbody Butoh School in Dharamsala, India. The nettles were harvested 2 hours prior to the performance.

Contact Adam


Adam, Alex, Santeri,

Lee, Bharath, Guarang and more

Let's join in the India tour

The 4th India tour of this winter will be diverse.
Lee will guide the intensive class at the Subbody School Himalaya during the whole winter.
Adam, Santelli, Alex and others go around the regions.
Old students, Bharath, Guarang, and Culture monk, Antfarm will cooperate in various places.
The whole of these activities is "India Life Resonance Butoh Tour".
Let's spread the breath of Life Resonance all over India!
Let's connect the Rhizomic network of various artists!
You can join in it now!
Please add your any activity in the list!

For those that need to confirm details, do so (Patruni, Pandemonium). Also, if anybody has something they will guide, add it to this list. So far, nobody has messaged me with any additions.  

Dec 3 - Feb 22 - Dharamsala - Winter Intensive class with Lee

Dec 12 – 14 – Kolkata – 3 day intensive with Adam

Dec 15 – 16 – Kolkata – 2 day intensive – Culture Monks

Dec 19 – 01 – Hyderabad – 5+ day intensive with Adam

Jan 23 – 26 –  Kolkata – Performances – Kolkata International Performance Art Festival

Feb 04 – Feb 08 – Mumbai  – 5 day intensive – Drama School Mumbai

Feb (? – ?) – Tumkur, Bangalore. In collaboration with Honza's Free Butoh School in beautiful wilderness.

Other possible pending: Pondicherry for 3rd week of January with Hu Man.

. ——— Shadowbody | Subbody Butoh School | Shadowbody Butoh Manual |

Contact Adam

School Journal

November Intensive course
Nov 12 -Nov 30, 2018
Mon-Fri. 10:00-5:00


The following week we will be exploring hidden joints & hidden muscles in the short term intensives.
How to reconnect with the memory of these parts?
How to put this awareness of fine details of body-mind a
t the core of researching/creation process?

Send mail

School Journal


I will be sharing the breath-body method tomorrow. It is a tool for rooting yourself in your necessity while you are doing research or performing; a tool to translate abstract mental concepts into concrete physical concepts so performers/researchers don't get lost or frustrated with their processes.
Sinking into darkness of the body
 8 November 2018

Non-dual Qualia Share

In the 2nd week of November 2018, we did the <Non-Dual Qualia Share>.
We stopped the thinking and became one-celled Life.
Life is resonating with non-dual Qualia which we cannot distinguish them what it is.
In the Life Resonance Qualia, body sensation and movement is oneness =non dual. Visual, audio, taste, smell and touching channel is oneness=non dual. Emotion, relationship, world=self image, and thinking is oneness=non dual.
Our Life resonates with present physical Qualia; gravity, sunshine, air, temperature, moisture, smell, sound, d not only these physical outer Qualia, Life resonate with inner memory Qualia of those for 4 billion years. Inner Qualia and outer Qualia resonate double as the non-dual and multi-dimensional realm.
We remember the most impressive non-dual Qualia in each life, in the nightmare, illusion, or real experience, most difficult Qualia to resonate well.
We share it with movement and words and co-created the world together.
Through this, most of the co-researchers got some different cobody scenes and solos, too.
Next week, we will integrate all of these cobody and subbody pieces into a long masterpiece for each.
This semester we could proceed with the creation process so smoothly than ever.
The findings of various sharing methods helped it.

Read more "Sinking into the darkness of body"

Sinking into darkness of the body
Saido-fuu of Zeami bu
Weakened body of Hijikata 
November 8, 2018

Break down your body into the cell size!

Some co-researchers are still caught in the emotional expression that is still overacting.
This is a habit, so the midwife must find the best timing and point it out somewhere.
Overacting expressions are those of everyday life and are commonly used in the normal theater.
It is not creation.
Creation of Butoh is not repeating the daily body but invents a novel form that travels from Life to Life.
By prohibiting exaggerated emotional expression as seen in theater and movies, for the first time the invention is inevitably pushed out.

To the fine shivering body!

How do you devise a novel Butoh dance that changes to it?
One possibility is to break down the body dance into a fine size infinitely.
We inhibit all the human size expression, and by crushing finely into cell size, shivering and frightening, the possibility of Life Resonance transmitted from the Life to Life is born.
This "Fine shivering body" is one of the breakthroughs in < Kyu part> kept investigating in Zeami and Hijikata secretly in recent years.
There is a hidden synchronicity among them. Also, I have met my necessity to inhibit the aggressive expression. After long years ferment, this cell's shivering technique is coming out.
Let's try it on the possibility now.
To transform it into only one secret in the world.

This is the conclusion of the investigation in that Zeami of the later years reached to prohibit Rikidou-style and focused on the Saidou-style that is the fine shivering. And my listening to my body has met the same invention. This is also synchronized with the change of Hijikata from the Ankoku butoh of his young age to the weakened body of later years. Behind this, there would be hidden a universal issue about the Beauty of Life Resonance Butoh.

Jo-Ha-kyu of vibration

We can integrate all vibration techniques as the following.

Ash body -very subtle vibrations
Clouding body -wear the Qualia cloud and the forgotten Qualia will moves you in the diverse sizes of vibration and swaying.
Fine shivering body -Break own your body into cell size, with rapid rhythm and increasing the intensity. Become the fine and hard shivering body.
Try to use this technique instead of the overacting movement. We can approach one more step toward the Butoh of Life.

Read more "Sinking into the darkness of body"

 World Life Resonance Art

India Life Resonance Butoh Tour

During this Winter India Life Resonance 2018-19 Butoh Tour (Beginning of December to Early March), we will proceed with Life Resonance at various India locals based on Butoh performance, workshop intensive, collaboration between various art genres, and promotion of the Himalaya Subbody School at art/performance festivals/fairs. This means we are opening this up for more than just intensive. If you desire an artist collaboration of some type, multiple-day preferred, we are also interested.

Our aim is to cultivate Life Resonance between Indian artist and foreign artist. We have engaged in 3 Indian tours in the past and will continue to build a flexible rhizomic network of life.

Dec 12 – 14 – Kolkata – 3 day intensive – Jadavpur University Dance Forum

Dec 15 – 16 – Kolkata – 2 day intensive – Culture Monks

Dec 19 – 01 – Hyderabad – 5+ day intensive

Jan 21 – 25 – Mumbai – 5 day intensive – Drama School Mumbai

Feb (? – ?) – Tumkur, Bangalore. In collaboration with Honza's Free Butoh School in beautiful wilderness.

Contact Adam

 World Life Resonance Art


Kangra from the Bhagsu Waterfall...

This area which consists of dozens of small valleys, Himalayan skirts and midium height summits, is one of the worlds bird paradises. More than 550 bird species live here (Whole Turkey is home to around 450 bird species).

Bhagsu Şelalesi'nden Kangra...
Düzinelerce küçük vadiden ve Himalayaların eteklerinden ve orta yükseklikteki zirvelerinden oluşan bu coğrafya yeryüzünde en çok kuş türünün yaşadığı bölgelerden. 550'den fazla kuş türüne ev sahipliği yapıyor (Türkiye'nin tamamında 450'ye yakın kuş türü yaşıyor).

— at Bhagsu Waterfall, McLeodganj.

Contact Ozerk

Video Lecture
Listen to the Forgotten Memory 
School Journal
 World Life Resonance Art


Die and die one more time die

"I would like to make the dead gestures inside my body die one more time and make the dead themselves dead again. I would like to have a person who has already died die over and over inside my body. I may not know death, but it knows me.” - Tatsumi Hijikata

I never looked too closely into this quote until recently, and feel I know exactly where Hijikata was coming from. The point of his Ankoku Butoh was to shed the skin of human domestication, following the lines of Antonin Artaud's body without organs. We turn the skin inside out, creating an endlessly shifting, multidimensional living body because the body envelops the all.

Hijikata already saw everybody as dead. He saw domesticated humans with their everyday routine, nationality, vocation, ethnicity, gender, ability, etc, and he wanted out of this, wanted something real and raw (what Artaud meant by cruelty) and so was in a perpetual state of dying from these corpses of structure that keep us from our infinite storehouse of life creation.

Contact Gadu

Sinking into darkness of the body
November 2, 2018

Jo-Ha-Kyu Life Resonance technique

Jo-Ha-Kyu is Life Resonance technique with the audience. How can we involve them into own Butoh world?
Through the flower, through the secret, through the mystery Life is interest in, curious of and involved into your world.
Dance your <Peacock Qualia> that your Life resonate deeply, impressed surprisingly in each part of Jo-Ha-Kyu.

Jo: Invent a novel beginning

How can you appear in a novel way?
How can you share the fresh surprise with the people?
Take your time to involve people into your dancing world.

Ha: Break the former world

You are still lack of change, lack of breaking the former world, need to leap to the opposite world, to unfold the unexpected world.

Change the density!
Change the gender!
Change the speed, tempo, rhythm!
Change the levels!
Change the moving line!
Transform to opposite being!
-from plant to animal
-from fluid to solid
-from stone to air
-from creature to Kugutsu
-from big size to the bottom
-Jump wildly among your ten bodies

Break the former world by unexpected change!
Use <Tame> technique. Wait for the best timing and spacing enough before your especial important movement.

Kyu: Dance all subbody=cobodies in the condensed time-space

Dance all the subbody=cobodies in a short time.
Increase the tempo, condense the changes to the ending.
Involve the audience into the Kyu world untill we become one.
Carry the intensity to the maximum and end.
Or completely opposite;
Reduce everything till nothingness.

Ka-Hi-Mei (Flower-Secret-Mystery)

The flower is in the unexpected surprise, in the novel impression, in the leaping to the unknown world, in the unfolding a mysterious realm which has never experienced.
It occurs through the resonance with your secret and mystery.
Invent them in diverse ways from beginning to the end.
See transparently how your Qualia resonate with the audience’s Life.
Through all of them we can complete the Jo-Ha-Kyu of Life Resonance.

We are co-creating the Butoh of Life which transmits from Life to Life.

Read more "Sinking into the darkness of body"

 World Life Resonance Art


Festival de Butoh Iberico

When: December 5-9
Where: Madrid El Umbral De La Primsera
C/De La Primavera 11
Madrid Espacio En Blanco C/Mira El Sol 5

Contact Jonathan


Maki (Wodico)

The first butoh performance!

Painter @ Nagoya

A lot of people supported me
True gratitude Sunday thanks
And to today's stage to practice again today
I began to start as soon as possible
To plenty next year
I will continue to work with various people from now on
Thank you very much

Contact Maki

Sinking into darkness of the body

 “Woman of the flames
Silver needle people
Dress of smoke.”

Costume en Face, Hijikata butoh-fu — with Rhizome Lee.

 30 Octobet 2018

Take off your sexuality

While I was the forties, I always dance with woman's dress
and became half woman, half man, transgender body,
toward the n'th sex.

Read more "Sinking into the darkness of body"

Sinking into darkness of the body
 26 Octobet 2018

Challenge of November:

Polish up the Butoh

Two months of September, October have passed like a storm.

We shifted from the Tree-like hierarchical order of old subbody method to Rhizome.

We could realize a novel creative field through the new methods of Resonant yoga, Resonant bodywork, Resonant research, Dreaming share, Cobody share and so on.

We are going to complete the novel creative method if the Resonant Rhizome that we co-create our butoh in subbody=cobody state before the differentiation of self and others.

However, there are still a lot of challenges left before the creation is completed.

What issues are we facing in November?


Quest for the inevitable dance for each

Listening to your Life, not only to your self, "Why do I need to dance?"

Solve your issues by converting it into dancing. However, we take a safe distance against the problem that we are not ready for now.

"What do you want to realize?" Listen to the wishes of your Life,
and continue to carry the secret.


Deepen the resonance technique with audiences

Continue to watch the Life resonance with the audience at all times by the distant eyes.


Become a body full of unexpected surprise

Be aware of how your movements are received by the audience from start to finish.

Betray the expectations of the audience at all times.

The surprising part moves in an unexpected direction, with an unexpected rhythm.

It will be in a shape that the audience has never seen.

Develop with unexpected Jo-Ha-Kyu.


In Life resonance, unexpectedness becomes an element of beauty

Life knows best what is the flower for Life.

Remember the moment when Life was moved by the unexpected happening.


Carrying Density

Becomes the different density of body other than the human body. And transform infinitely into all beings of the universe.


Being moved

Always you are moved by someone. Reduce your will of the human.


Jumping wild

Leap to another dimension that cannot be predicted always.


Perfect the Jo-ha-Kyu

Dancing in which the Jo-Ha-Kyu is not accomplished impairs the resonance of Life.

Dance which is transmitted from Life to Life is realized through the fulfilling of the Jo-Ha-Kyu.


 Each butoh should be totally unique and different.
We will expand the possibility and diversity of Life.




Read more "Sinking into the darkness of body"

Sinking into darkness of the body
 26 Octobet 2018

Becoming Life

I decided to graduate from myself on my 70th birthday.
It is no longer an important matter whether one is oneself or not. Important thing is what is to do as a Life
I want to take off myself and quest the way to become Life desperately.
A way to incarnate into a transparent Rhizome of Life.

Read more "Sinking into the darkness of body"

A Girl Tatsumi Hijikata Quiet House 0 | Video commentary by Rhizome Lee 
Red God Quiet House 1 | Rhizome Lee Video Lecture 
 World Life Resonance Art
Infectious Fever Rhizome Lee 1998 Japan 
 Dead Fever Rhizome Lee 1998 Japan
 Nightmare Fever Rhizome Lee 1999 Thailand
 Black Fever Rhizome Lee 2000 Hungary 
 Unfold Fever Rhizome Lee 2001 India

Rhizome Lee

Happy four billion years of Life!

This month we are celebrating 30 years of Rhizome Lee's dancing body&soul, 16 years of school history, and 70 years of life...Well, add 70 years to the millions of billions of years age of cell's life! Sharing with you stories we remember, and being grateful for all opportunities that guided us through life so far!

photo of Rhizome Lee in Infectious Fever

Contact Lee


Rhizome Lee

More than 15 years ago on Temple Road,
Mcleod Ganj (Dharamsala, India)...

Rhizome Lee danced butoh, and kept opening doors to hidden realms! His dancing spirit is just as much alive now as back then.
Never forget to dance your hidden world!🐉

Contact Lee

Sinking into darkness of the body
 20 Octobet 2018

Rhizoming way of Co-creation

7 weeks of experiments for Rhizoming co-creation have passed.
All experiments were the first trials for us.
Till now we could found some essential points to break through the issues to solve for the co-research.
We succeed to co-create a Rhizome like theater on Friday that all performances connect as if one large creature. But, still, we have many issues to overcome.
Only five weeks remain toward the next Festival, the largest chance to integrate all co-research.
We need to be ONE to break through the walls as subbody=cobody. Everybody should challenge it desperately. In the case of one person might miss, the whole attempt will fail because all of these are the resonance technique to share by all to co-create a total festival together.

Issues of co-research to be faced for the time being

The issues of co-research are the following;

1. Carry your Secret

Everybody investigate in your necessity of creation deeper and carry the Secret throughout the whole co-creation process.

2. Jo-Ha-Kyu co-creation

Jo-Ha-Kyu is resonance method to find the best resonance pattern between dancers and the public.
Invent unique <Jo-ha-Kyu> to deepen the Flower, Secret, and Mystery. Use the <Tame> technique for the Peacock flower.

3. Carry the density

Change the speed, timing, density, dancing places with taking off the daily human body and transform infinitely.

4. Jumping wildly with co-creating the dynamic change between Rhizome and Tree

To find the timing from random resonance to the same resonance pattern is essential to co-create novel Jo-Ha-Kyu. Find the diverse MA of peacock moments to surprise the Life. Co-create the dynamic change from random Rhizome to novel Tree formations appear, and the reverse (Tree to Rhizome), too.
Not stuck by your thinking is important.

5. Become an expert of sharing Qualia

Learn how to get the best MA (timing and spacing) in the practical movement.
Invent the best MA (timing and spacing) in both of to bring others and follow others.
We tried various ways to share each own Qualia, through words, voices, spontaneous resonant movement through opening Hidden skins (skin eyes, skin ears). In each moment find the best method to co-create the MA of dynamic change to realize a miracle.
Overcome the narrow subjective action and open transparent resonance.
If you find the best MA and Qualia to change the world, ask your Life "How can I bring others into the co-creation." and dive into it immediately.

6. Investigate in the flower of Kan (Disability)

Find the ugliest Qualia of Kan that your Life couldn't resonate well. And invent the best MA of Jo-Ha-Kyu to change it to a novel Beauty of the Life Resonance. How can we transmit it from Life to Life?

Let's become Life!
Become Rhizome!
Become a Secret!

Read more "Sinking into the darkness of body"

Sinking into darkness of the body
 Entering the subconscious -Quiet House 4
 16 Octobet 2018

Unification of subbody Butoh and Hijikata Butoh

We investigated in this in various ways for twenty years in Himalaya and finally reached to the understanding that also Hijikata tried so many ways to be subconscious body mode.
We could find it in His last solo butou-fu “Quiet House” and “Sick Dancing Princess”, too.
Though it took for twenty years, finally subbody method and Hijikata method was unified as ONE.
At first, I found that subtle sway or vibration is useful to stop daily thinking and become subconscious mode.
The second finding is that in the subconscious mode, the order between body and subconscious mind disappears and become one. Then I named it, “Subbody”.
Also, the border between individual subbody and resonating subbodies become one, we named it, ”Cobody”.
In the beginning, we researched the subbody and cobody was the different one, but now we can understand the both is the same, then we understand that subbody=cobody as one.
How can we become the subbody mode?

We investigated in this in various ways for twenty years in Himalaya, and finally reached to the understanding that also Hijikata tried so many ways to be subconscious body mode.
We could find it in His last solo butou-fu “Quiet House” and “Sick Dancing Princess”, too.
Though it took for twenty years, finally the subbody method and Hijikata method was unified as ONE.

At first, I found that subtle sway, vibration, and moving stretch was useful to stop daily thinking and become subconscious mode.

The second finding is that in the subconscious mode, the border between body and subconscious mind disappears and become ONE. Then I named it, “subbody”.
Also, the border between individual subbody and resonating subbodies become ONE, we named it, ”cobody”.
In the beginning, we regarded that the subbody and cobody were the different things, but now we can understand the both is the same, then we understand that subbody=cobody as ONE.

Today,I want to share this three "ONE" (=unifications) with you.

Hijikata investigated in the way to become subconscious mode in many diverse ways, and integrated it in the Butoh-fu "Quiet House" as the following;

1. Red God

The subtitle of 1st chapter is "The Red God". This means we reduce modern intelligence that distinguishes everything into two by its dualism.

In the 1st sentences, he wrote, " A girl who plans an evil deed in the rain,"
This is his main motive of this solo dance, and at the same time, it means he will become ONE with his dead sister in the performance.
Hi investigated in Animism deeply and he wrote in an unpublished note;
“We need to sink down into the realm before differentiation of self and others.”

2. Become Shisha (dead)

2nd chapter is subtitled "Important".
It was a note to remember "Important" to himself. This Shisha was the world view of Animism that was familiar in his home town, Akita as he wrote in “Sick dancing Princess” later.
"Shisha transforms their shapes quietly and infinitely."
This Oneness was able only in the subbody=cobody mode.

3. “Ash Girl”

The 1st sentence is written as “Soul and Spirit”, and the last sentence is closed as “Matrializing”.
This means from beginning to end he reduce all modern intelligence and become Animistic “Soul and Spirit”.
In the other chapter, also he tried various ways to become subbody=cobody mode.

4. Vaporizing

Vaporizing technique was his novel invention to become ONE with his dead sister.

5. Something that was graped as a shadow of mind.

Shadow of mind means directly the subconscious body (subbody).

6. “Can Factory”

Can factory means his memory place that he was dear.
He entered into forgotten memories (subconscious memories) through it.

7. Dream of horse meat

Dream, especially, impressive proto dream is an entrance to the subconscious realm. Through dancing the dream he became subbody-cobody.

8. The morning after the storm has passed.

Even the dream has passed and he became materiarizing as “A samrai commander”, still his still body was a quiet state of subbody.

9. Behind Mirror
To go beyond the wall of light between the physical world and invisible behind the world, he used “Dizziness, shivering, and swaying illusion’s state of the subconscious.

10. Mescaline
Mescaline is a drug to bring us to an altered state of consciousness like LSD. Though we do not use them at all, because the Medimotion is easier and safer than the drugs.
Also, Hijikata knew well of that various Medimotions are effective to become subbody mode.

11. Chimera
In the subbody realm, every Qualia are resonating with other Qualia and create novel Qualia constantly. He followed the Qualia transformation process by the whole body.
16, The difficulty of changing place
He integrates all of the transformation methods here, and call the real Qualia through different ways to be subbody;
through reducing modern thinking,
through becoming the Animistic state,
through becoming the shadow of mind,
through becoming bugs fear, birds fear,
through the proto dream,
through prototype state; dizziness, shivering and swaying shadow.
Through becoming various altered conscious states, etc.
We will deepen more to investigate more diverse ways and safer methods to become subbody=cobody.
Because to have many entrances and exits is characteristic of Rhizome and Subbody=cobody is real Rhizome that connects freely and separates flexibly.

Read more "Sinking into the darkness of body"

 World Life Resonance Art


Vishal is sharing his experience
with drama students

Here I am Sharing my subbody experience
with drama students, they are liking a lot
because they are bound by theatre anthropology,
teachers ego, and themselves,
but they feel free with me and they are meeting themselves through freedom of moments.
And it’s happening because of butoh process,
also there is Australian movement teacher call Tony Yap
who worked with Hijikata's wife, Yomiko Yoshioka
and Min Tanaka so learning a lot from him.
See you soon!

Contact Vishal



Gio will perform 23rd Oct.

Tea and Meditation Festival 2018

When: 23rd Oct.
Where:Chuidasun Resort, Ojori, Korea

Contact Gio

School Journal
Sinking into darkness of the body
 19 Octobet 2018

The Blood of Dance

Chapter 16 is one of the most important parts of "Quiet House".

16. The difficulty of changing place
The body is a dancing place. A dancing place of the hand, a dancing place of the hip, a dancing place of behind the elbow, and so on.
The depth of this dancing place is formed by overcoming the deep memories (and Qualia) that were caught in each dancing place and reverse twisting them.
For example, suppose there is a house of Mr. Yanagida, and I discover that it is a very precious thing that there is a peacock in Mr. Yanagida’s yard.
And the place called “Can Factory” is narrated by the powder that was dear to me.
They become the blood of the dance.

Change the dancing place always!

Changing the dancing place is so difficult, even for Hijikata, that's why he wrote this note for himself.
Why is it difficult?
Because to stop thinking is difficult. Always we are bound by an idea; “I will dance this!” and trapped by that narrow thinking.
We need to shift thinking mode to listening mode at every moment to let remember the forgotten Life memories of the cell.

Remember the Peacock for your Life

Then Hijikata wrote to let remember the
Peacock moment of Life.
Remember the moment when your Life was moved by fresh surprise. Remember the moment when something was changed out of your awareness. Remember the first surprise when you were a fetus, the moment that the womb starts shrinking.

Proto Jo-Ha-Kyu of Life

Remember the first Jo-Ha-Kyu of Life.
Jo: You were floating in the comfortable sway of the proto ocean of amnio fluid.
Ha1: You notice that something is wrong, but not sure. And suddenly you notice what your world is shrinking!
Ha2: You surprise and shout. “Stop it! Stop it!” But, the womb never stop. You try to search the exit, but could not find it. You become panic!
Ha3: Finally you get angry as a creature. “If you kill me, I will destroy this world!” And try to search the exit desperately, and finally, find it. You insert your head to the very narrow exit with twisting the head and spiraling the body.
Kyu: Your body passed the narrow vagina without breath. You are on the edge between death and life. And finally passing through!
Congratulations! You are born as a baby!
This is the proto Jo-Ha-Kyu that everyone has experienced at the beginning of individual life.
Stop thinking and remember Life memory. Life knows well of the Jo-Ha-Kyu experience that the Life was moved strongly, though your head always forgets it.

Special medimotion

How can we bring the blood of dance into our butoh piece?
By reminding the body of something we can not remember.
By crystallizing the Secret of Life.

Special medimotion is necessary for it.

Change your body position from daily normal position to abnormal position and move each part of the body in unusual ways. Let your body free that any momentary movements come out spontaneously.
The forgotten memories come out not through the brain, but through the spontaneous movement from the body.

Try the diverse ways

He integrated all of the transformation methods in the "Quiet House" and became subbody=cobody through the diverse ways;
through reducing modern thinking,
through becoming the Animism mind,
through becoming the shadow of mind (subconscious),
through becoming bugs fear, birds fear (Prototype response as Life),
through the proto dream,
through becoming various altered conscious states; dizziness, shivering and swaying shadow, etc.

We will investigate in this pass in rich diversity between daily mode and subbody=cobody mode in safe ways.
Because to have many entrances and exits is characteristic of Rhizome. Subbody=cobody is real Rhizome that connects freely and separates flexibly.

Read more "Sinking into the darkness of body"

The Butoh ――A dedication to Tatsumi Hijikata


219  Blood of Dance

The 16 chapter <Blood of Dance> of "Quiet House", it is the one of the most important part of it.
I recmmend you to read it thousands times.
Without the blood, dance becomes only physical motion of body.
Let deep necessary Qualia for you pass the blood through each dancing place with changing one after another.

"16. The difficulty of changing place
The body is a dancing place. A dancing place of the hand, a dancing place of the hip, a dancing place of behind the elbow, and so on.

The depth of this dancing place is formed by overcoming the deep memories (Inner Qualia) that were entangled in each dancing place by
reverse twisting them.

For example, suppose there is a house of Mr. Yanagida, and I discover that it is a very precious thing that there is a
peacock in Mr. Yanagida’s yard.

And the place called “
Can Factory” is narrated by the powder that was dear to me.
They become the
blood of the dance."

Difficulty of Changing place

To change place of various dancing places is difficult even for Hijikata himself. We are often bound by own habit to use only a few part in dancing, Hijikata as well. That's why he wrote down it specialy for his reminding.
Each dancing place has unique impressed memory that your conscious mind is not able to remember, but body has so many hidden memories, and it is entangled to each dancing place. Those entanglements are like a twisted Qualia for your Life, and when you create your unique dance, the dancing place reverse the twisted Qualia as a novel creation. All essential creations are the "Reverse Twist" for Life.

Pass the "
Blood" through each dancing place

Remember various forgotten memories with changing the dancing places one after another flexibly. Then various alive subbodies will come out with forgotten memories.
Real subbody comes out with full of the blood, full of deeply imprinted memory, full of deep Life Resonance Qualia.

Can factory" as a symbol of your memory place

Hijikata had experience to work in a Can factroy. It is an important memory place for him that is full of alive memories. You ca nfind your own memory place in your life. Life knows well what is the most interesting change of the dancing place next. Listen to the subtle novel Qualia in dancing, and just follow them with believing Life.

Peacock" as remarkable impression for your Life

Life never forgets the excitement that Life was moved deeply.
"Peacock" is a symbol of the exciting impression for him. Also your Life has own remarkable moment that was moved deeply. Believe your Life, and Life can dance the most impressive moment in your performance as own novel Beauty.
"Peacock" is a metaphor of the precious moment of unique Beauty.

Read "The Butoh" more




School Journal


November short course

I will be leading the short term intensive courses
at Himalayan Subbody Resonance Butoh during november.
If you end up around Mcleod Ganj you are welcome to join.

Contact Ozerk

 World Life Resonance Art
 Support us!

India Butoh Scholarship Program

Reaching Out to Talent in India

This fundraiser known as the India Life Resonance Art Butoh Scholarship Program will give talented economically-challenged Indian nationals the ability to study the Subbody Method at the Subbody Butoh School.

The school has existed since 16 years and brings creators from all around the world. The facility contains two dance floors, an amphitheater, and a beautiful view of the Himalayan mountains.

What is butoh?

Butoh began as a 60s Japanese rebellious dance theater that stretched the definition of dance, theater, and beauty. Now there is certainly international curiosity due to its psychological, improvisational, and even shamanic elements.

Subbody Butoh School History

The story behind Subbody in the Himalayas goes back 20 years. Before then, Rhizome Lee (Japan-based) had been touring much, but was unsatisfied with the degree of research he was engaging in. A thought crossed his mind that he needed a perfect location in the world to engage in serious study of butoh based in Hijikata's method. The point was not to copy Hijikata but to go underneath the artist in order to discover his endless creativity.

It took 7 years later in Dharamsala, India for Lee to complete the school built specifically for the creation process of butoh. The building has been up 13 years, and Lee is still engaged in endless research. This is not a place to dip your feet in. This is a place to transform your entire life to butoh. Exactly what Hijikata expected of a butoh dancer. All or nothing.

Help us realize this program by donating here:

Visit the site

Facebook page: Life Resonance Art

Contact US

Sinking into darkness of the body
Quiet House 3 Reduction by X and Regenration 
 World Life Resonance Art
 Life Resonance Art

facebook page was born!
Please share and spread to the world!

Share this Link


Resonance art wor(l)ds.



Dear Friends,

We are delighted to share that more and more old students join the school for sharing the midwife process. Slowly we create a subbody resonance butoh midwife community, and a resonance art community. It has been a great joy to see all of you who continued to dance, and discovered how to share this journey with others.
We welcome back all of you wishing to refresh subbody memory, and  those who wish to connect!



WINTER INTENSIVE (3rd December 2018 - 24th February 2019)
INDIAN TOUR (2018 December - 2019 March)
3 MONTHS CONTINUOUS TRAINING (2019 4th March - 6th June)
1 YEAR COURSE (starting in March or Sep 2019)
17th International Butoh festival Himalaya (Nov 23rd Friday - Dec 2nd Sunday)
classes are held in unique, rotunda studio spaces, and in various nature sites surrounded by the Himalayas


December - 2019 March guided by Adam Koan

So far,

  • Dec 15 – 16 – Kolkata (2 day intensive)
  • Dec 19 – Jan 1 – Hyderabad (5+ day intensive, multiple location)
  • Jan 21 – 26 – Mumbai (5 day intensive)
  • Jan/Feb/March – Tumkur, Bangalore (unknown)

We are raising funds for Indian Butoh Scholarship Program
You find more information on this project here.





News Letter Home

Contact us




With Pilar Echavarria (Colombia)

The Liquid body residence arrives in the programming of the 3th black stage, not only as a training space, but also of care. Knowing of the acidity that bodies bodies live daily, mainly bodies bodies that act in militancy, the meat invited pilar echavarria, Liquid dance facilitator and butoh who has in his research, the prospect of healing, without leaving aside the creation and trainings of the performer .

In the words of pilar the residence is " an invitation to expand your movement and dive deep into the wisdom of your body. Be an inhabitant of your own interior landscapes, dance from your cells, your organs, your heart, your skin, your bones, your tongue... the movement develops in unknown and unexpected directions. We intend to explore and inhabit a fluid state of presence, including all impossibilities, resistance and obstacles to be present.

The residence takes place from 22 October to 30 November
In Recife and itamaracá
From 13:00 to 17:00 in recife
Two days and a night in itamaracá

Number of vacancies: 10
Deadline for registration: 10/10
Result: 20/10

Registration by form:

More Information:

Images By Mateus Almeida

Visit the site

Contact Pilar



Jonathan will dance!

Butoh philosophy dance
Wonder wonder


" a moving research aimed at enjoying a dance of origin. It's affordable to all bodies,
enjoy for all minds."

Jonathan Martineau

Are you in? You amaze???

+ info / reservas: / 657629580 / messenger Alberto Otrebla

Photography: Claudio Palazzo

Contact Jonathan



The first performance!


Flower was born as an improvisation at The Rhizome Lee Workshop in Rotterdam summer 2017. The pictures In this album are from the first public performance.: FLower (1) Butho festival Amsterdam March 2018 organised by Ezio Tangini.

contact Bushra

Sinking into darkness of the body
Too Female Zalina 
 9 Octobet 2018

<Hidden Body Share>

Yesterday, we researched own essence and shared it together. Today we do opposite research.

How to meet your Hidden body

Reduce your first personality, your self-identity.
Change conditions of some part of the body, shrink. Bend, collapse and so on.
Then another personality which is hidden in the darkness of the body will come out. Dance it.
You can use Hijikata’s transformation method <Reduction by X and regeneration> flexible.
X can be anything. You can reduce age, speed, size, healthy, flexibility, character, intelligence and so on.

It is your Hidden body, we exchange and share it each other.
Resonate with your friend’s hidden body with various resonance patterns; same or different resonance pattern.

Release from the bind of your family role

Take off your biological family role. Jump out from the parent territory as a daughter or son, and transform different role, mother’s father, father’s mother, and so on flexible.
Reduce your age, sexuality, gender, nationality, intelligence.
Become another being from your biological or cultural binds.

Amplify the strange relationship

Everybody transform to own Hidden bodies and exchange it each other. You can become your friend’s hidden body and open unexpected relationship with each other.
We become Rhizome which connects freely at any part of the body and separates flexible.

Hidden bodies could not resonate well with this modern human world and had to hide in the darkness of body for long years.
Let them appear in the new world and we co-create the <Hidden bodies Rhizome>.
It is big pleasure for your subbody=cobody! Isn’t it?

Read more "Sinking into the darkness of body"

 World Life Resonance Art



Igu's Butoh group developed to five dancers.
The performance was so successfully.
Each one seems so deep tasty dancers.
Looking forward to the future.

Tohoku Butoh Migakushi
Five Mature Butoh Dancers

皆様に心から、感謝致します🙇 頂きましたお心づくしは、
本当にありがとうございました🙇❤ 益々、精進していきます。

コンタクト イグ

Sinking into darkness of the body
 8 Octobet 2018

Ka-Hi-Mei (Flower-Secret-Mystery)

Dance your essence

Listen to your darkness of body, and find your essence that you are not yourself anymore without it.
Dance the essence in a short time, and confirm it what it is.

Carry the Secret

Continue to carry it as your secret throughout the dancing always.
No need to explain it to others, actually it is impossible to talk with others because it is not able to say by word. It is the subtlest Qualia but you cannot ignore.
We dance in the invisible mysterious world, carry your secret in the mystery.

Ka-Hi-Mei (Flower-Secret-Mystery) Resonance

Someday, a flower would be born from the resonance between the secret and mystery.
Try to invent many kinds of flower, small flowers, middle and big flowers, and some of them could be the Kan Flower (Flower of disability).
Kan Flower is the ultimate flower of Butoh of Life that resonate with from Life to Life.

Read more "Sinking into the darkness of body"

School Journal
 Visible | Mohet
 Over thinking | Ashok
 Not So | Zalina
 Good luck being weightless and playful
on your death bed | Adam
 Greed | Mohet
 World Life Resonance Art
"Dehumanized Body" Piu in Kolkata 


"Dehumanized Body"
in Kolkata

Dehumanized Body: India 2018 | Kolkata

Duration: 7 days, 2-8 October 2018, 3-8pm

Interactive Live Butoh Art: Daily, 6 -6:30pm

Venue: North Gallery, Academy of Fine Arts

Entry: Free

Multimedia Installation with Live Art


   Video Installations: 
The Attack on Bhima Koregaon, 
2) The Rape of Badaun and Murder of Rohith Vemula, 
3) Pink Girl Dehumanizations, Thoothukudi, Pranay Found Footage
4) Browse Several Performances & Documents, 
5) About Dehumanization and the Installation, Credits and Collaborations

6. Digital Prints on Canvas

7. Objects of Dehumanization

8. Text Excerpts

9. Live Art

10. Artist Collaborations


In “Dehumanized Body: India 2018”, Priyadarshini Ohol combines found footage from social media, in videoButoh performances, sound, text, objects of dehumanization, space, mirrors, the artist’s body, the audienceon location& video documentation of the daily interactive live art, to present aself-evident picture of the violent dehumanized nation we live in.


Ohol sources video documentationpredominantly shot in first person by people on social media sometimes from those who are less than a degree away. This footage isof the continuous ongoing violent dehumanization by individuals and the state. She projects this insider’s view of the truth on large screens juxtaposed with Butoh performances made with the realisation of how we persecute survivor castes and tribes, deny them justice and then further demonize the oppressed by placing blame on them. This is violent by design and denies them humanity.


In the Live Butoh Performances, shechannels these violent surroundings and times through her body, sometimes visibly recreating scenes and progressively reducing her humanity. into a current cultural commentary.She presents the viewer an interaction with objectshistorically used to dehumanize in the subcontinent by performing actions recommended in the Manusmriti, context cards of excerpts from the Manusmriti, her dehumanized body, and a mirror. The Manusmriti is the handbook of laws for brahmin supremacy - the ideology supplied to us today as "Hindutva."

She is asking the viewer, "If this is your ideal and these are the social laws you want to live by, why don't YOU start with ME? Do what you can with the objects to my body. Can you be as inhumane as this lawbook asks you to be and can you dehumanize me to that extent? Do it and then go and look at yourself in the mirror. Is this who you want to be and is this the world you want to build?"


The multimedia installation [social media videos, sound, artist’s voice, sound art, performance art, everyday objects, several live collaborations, text] is artivism.The viewer hasthe opportunity to explore their inner world, do away with illusions and re-examine the part they play in society.

In "The Rape of Badaun and The Murder of Rohith Vemula" video, she shows real footage with how Badaun affected her as an artist. The video alsochronicles a news channel clip of Sushma Swaraj denying Rohith’s identity of being a Dalitwhich is juxtaposed with #RohithVemula's assertion in a video interview that he is a Dalit. Who will you believed and why?

On Day 2, a man in a saffron kurta, yelled at the screen in Bangla "ROHITH WAS NOT A DALIT. ROHITH COMMITTED SUICIDE." This part of the AV is the artist’s commentary on the “notadalit” denial of identity tactic repeatedly used by the ruling government to deny justice to persecuted Dalits, by scuttling support and not implementing legal provisions. They did the same thing in Badaun.

The video in the installation of "The Attack on Bhima Koregoan" directly brings to the public on the ground footage of what really happened in BhimaKoregaon . While the government is spreading propaganda about Ambedkarites being anti-national, violent or Maoists, mainstream news demonized them and added to the propaganda by characterizing them as the ones to start the violence and unrest. The video installation directly shows the planning, attack, on the ground rioting, stoning, burning, bombing by saffron flag bearing brahmin supremacists on the Ambedkarite crowd that gathers every year at Bhima Koregaon to pay homage.


In keeping with the spirit of an artist who responds to the times, the work is meant to force an acknowledgement of how violent a society we are without recourse to superficial delusions of grandeur, to show reality, to present a mirror,to generate questions and evoke a response for change.


Oholcontends that mass scale othering and dehumanization is in the moral fabric of the people of the subcontinent because of extended implementation of the casteist social structure and laws rooted in brahmin supremacy. The resultant ongoing violence in this part of the world has caused the largest genocide of an otherized population for the longest period in recorded history, prolific enough to become invisible. That this genocide is still on today is a reality often wilfully denied or ignored withproclamations of economic, religious, culturalormoral superiority.


Through the installation Ohol challenges the viewer to deny thereality she inhabits. She invades sanitized spaces with recreations and questions about the ideologies being championed as the ideal which our nascent democracy attempts to leave behind.“Why should spaces meant to generate debate, inhabited by ruling oppressors be whitewashed & sacrosanct, devoid of the reality of their victims, providing an excuse for ignorance when the survivors have neither respite from the people nor the state?” “Why should you be able to deny and gloss over the reality that India in 2018 is a violent nation led by those that dehumanize, maim and kill people routinely to fund its existence. That the state is at war with the people. That the rulers of the state are oppressors, beneficiaries of casteist oppression and have built a violent oppressive state?


Where do we go from here Ohol asks? Back to the uncivilized,unequal, hate filled, exclusionary, exploitative dark ages or towards enabling the best of humanity? “Who will civilize you?” she asks of those wanting to build a world conducive towards a birth-based segregation, classification and hierarchical capital entitlement through the casteist brahminism ideology. “What sort of world do we want to build?”


On the genesis of the physical art form Ohol says:


“This year, I started being haunted by all the dehumanized bodies that are the collateral damage of our unequal, violent, casteist, socio-political scenario. The rape of Badaun – the sight of those children hanging underneath the mango tree, the harassment of Rohith Vemula driving him to suicide in Hyderabad, the massacre of Thoothukudi, the brutal gangrape, murder and mutilation of Jisha, the lynching of Akhlaq, the hacking to death of Pranay, the abundant dehumanization of the oppressors and victims and survivors around, sometimes less than one degree away started forcing me out.


I had to tear down the big happy abstract expressionist paintings in progress off my walls because they no longer fit the world I was living in. I do not like making figurative works in this country full of people but figures are hanging all around me, not letting me rest in the day nor sleep at night. The girls of Badaun started metamorphosing as figures in my paintings, causing me immense pain, driving me away from the canvas and paint for days. I did not know how to do justice to them in an abstract form while keeping the integrity of what they were asking me to narrate.


I started carrying the pain of violence and abuse and othering and dehumanization of the raped murdered girls hanging from trees and others who joined them in my body where they found resonance with my own story. Tormented, I found myself explaining to a Japanese Butoh master that I was being haunted by these dead hanging girls and the violent country. I showed him the picture, explained that I needed to let them out. With his guidance and help, I started my physical research on dehumanization. I worked on desexualizing my body, using it as a tool, allowing my body to become the medium to tell their stories.”





Priyadarshini Ohol

Contact Piu

School Journal
 Dancing some own issues

 Broken Circuit | Gora
 5 October 2018

Dancing some own issues

Last wednesday every co-researcher listen to the darkness of body, and danced ten or several issues in ten minutes.
We upload them one by one.

"Shaking muscle" Nabila
"On the Roof" Ruusu
"Broken Circuit" Gora
"Greed" Mohet
"Good luck being weightless and playful on your death bed" Adam
"Over thinking" Ashok
"Not so" Zalina
"Stucked lost" Leire
"Frustlated Prince" Prince
"Crushed beans" Guneet
"It" Dara (No video)
"Connected Disconnected" Samar

From here, each one's subbody=cobody will grow up to one hour master piece till the end of semester.
Please watch the process warmly.

Read more

 World Life Resonance Art


Igu's Butoh group found new performance space
adding to the old Space Igu.
Life Resonance spreads slowly yet firmly.

東北舞踏 三角標
「舞踏小屋投げ銭ライブ」in 千厩

When: SUN, 7 OCT AT 19:00

Where: 千厩字町142 熊谷美術館横

東北舞踏 「三角標(ミガクシ)」が10/7日19:00より、

コンタクト イグ

 Dance your Life in 3 Minutes
 World Life Resonance Art
 Dehumanized Body in Kolkata Piu


Piu Performed "Dehumanized Body"
Day 2 and Day 3 in Kolkata

Day3 Dehumanized Body: India 2018 | Kolkata #LiveArt
Today a guy came in a saffron kurta, stood on the performance space threshold, while Pravin and I were rearranging some prints and yelled at the "The Rape of Badaun and The Murder of Rohith Vemula" video. The video was playing the part where Sushma Swaraj denies that Rohith is a Dalit juxtaposed with #RohithVemula's assertion in a video interview that he is a dalit. This man in the saffron kurta, yelled at the screen in Bangla saying "ROHITH WAS NOT A DALIT. ROHITH COMMITTED SUICIDE.
" The part of the AV is my commentary on the #notadalit denial of identity tactic repeatedly used by the ruling government to deny justice to persecuted dalits, by scuttling support and not implementing the sc/st act. They did the same thing in Badaun. I said to Pravin that we must probably photograph or record him but he asked me to ignore it. Later when friends came and I told them, many could not believe it because they said this is Kolkata, it doesn't happen here. But it did happen.
This is the first time that an artist is doing a large scale socio-political multimedia art installation in a mainstream art space focusing on the mass scale continuous dehumanization and persecution of survivor castes/dalits by individuals and the state by showing material from on the ground which is in conflict with the country's right wing ruling casteist propaganda.
This material is so often blackflagged and left out of biased newsrooms and from the discourse favoring oppressors in the country. So I show it on big 15 feet wide screens in my installation juxtaposed by butoh performances that channel this persecution through my body in video and live. I won't let you deny it. I won't let you ignore it.
I will not let you blacklist it and misrepresent and continue your persecution. I won't let you rest easy after the pain you cause with your collusion. I will bring you face to face with what you are doing in your spaces, in your faces. The video in the installation of "The Attack on Bhima Koregaon" directly brings to the public first person on the ground footage of what really happened in #BhimaKoregaon .
While the government is spreading propaganda about Ambedkarites being anti-national, violent or maoists, mainstream news demonized them and added to the propaganda by characterizing them as the ones to start the violence and unrest.
The video installation directly shows the planning, attack, on the ground rioting, stoning, burning, bombing by saffron flag bearing brahmin supremacists on the Ambedkarite crowd that gathers every year at Bhima Koregaon. This is why it is important to take this installation to different cities around the country. The multimedia installation [social media videos, sound, voice, sound art, performance art, everyday objects, text] is artivism. It is more than a protest.
I give the audience objects used to dehumanize by performing actions recommended in the Manusmriti. There are context cards of dehumanizing actions to do excerpted from the Manusmriti. The Manusmriti is the handbook of laws for brahmin supremacy - the ideology supplied to us today as "hindutva" I'm asking the audience, "If this is your ideal and these are the social laws you want to live by, why don't YOU start with ME? Do what you can with the objects to my body.
Can you be as inhumane as your lawbook asks you to be and can you dehumanize me to that extent? Do it and then go and look at yourself in the mirror. Is this who you want to be and is this the world you want to build?""

Priyadarshini Ohol

Contact Piu

Sinking into darkness of the body
 Nomad Rhizome in the forest f
 5 Octobet 2018

Clouding body and "behind world"

Clouding (Obscuring) body technique is introduced in the beginning of "Sick Dancing Princess".

"Shrink and attentiveness of the old man who knew the uselessness body. I have learned the method of clouding the body through them."

The old man spreads the hidden skins and shrinks it, when it meets strange Qualia like the slime.

We dance it not only by solo, but also with cobody.
When the cobody is moved by invisible behind world like the swarm, the audience also has to move the watching place one after another.

It is the sharing the Medimotion effect with the audience, and they are involving into the invisible Life Resonance world.

By resonating with the invisible world, the audience is caught up in a wonder of Life Resonance with the behind world that the audience can not see.

The <Nomad Rhizome> and <Resonant Rhizome> is the technique to involve the audience into the invisible Life Resonance.
We will continue to polish it gh the year.

Read more "Sinking into the darkness of body"

Sinking into darkness of the body
 A Girl Tatsumi Hijikata
 4 Octobet 2018

How to meet your necessary Butoh

"A girl who plans an evel deed in the rain."

It was his fourties when Hijikata met his own unavoidable Butoh.
"A Girl" in the "Summer Storm" (1973) and "Quiet House"(1974) he danced his dead sister at last, and he could stop dancing any more.

How can we meet own reason to dance?
How is it possible to meet own necessity of creation?

In October course, we started to co-research it.
1st day, we danced own life in three minutes.
We asked Life why did I became "I"?

2nd day, Adam guided to dance two conflict Qualia in various ways.
We faced our inner entanglements. of Qulaia

3rd day, we danced ten or several issues for ten minutes.
We faced the inner multile Qualia Resonance.
It was so complicated entanglement, everybody faced it.

4th day, we went to forest, and danced each issues in the behind world, and co-create them with supporting each other. The weather of the mountain was easy to change, it was an eerie atmosphere that lightning is approaching. We danced with wearing all of them.  .

5th day, we integrate all research of the week and find each one's dancing freely. We ask Life: "What do you want most?"

This is what we learned from Hijikata to meet the Necessiy of creation.

Read more "Sinking into the darkness of body"

 World Life Resonance Art


Kiyoko's Group performed in October

Takasago Butoh Coop

When: October 13
Where:Takasago Bunka kaikan, Takasago city, Hyogo, Japan

Contact Adam

 Dehumanized Body in Kolkata Piu


Piu Performed "Dehumanized Body"
in Kolkata

Stills from today's opening performance. So stoked about today's collaboration with Bulada aka Pradip Chattopadhyay of Mohiner Ghoraghuli, Bengal's first indigenous psy rock band. Such a brilliant, down to earth artist.

Thank you Michael Northam for suggesting I skip making a sound track and collaborate with him instead. He takes the happening to a completely different level with his voice and sound art.

Videos Installations:
The Attack on Bhima Koregaon,
The Rape of Badaun,
Pink Girl Dehumanization,
Several Performances to Browse,
Dehumanization and the Installations

Videos are Found Footage of Bhima Koregaon attacks, Badaun, Rohith Vemula by activists, friends, on social media, , Ndtv India @worldwidenews , #Butoh Footage shot by Sangeeta at the Subbody School

Looking forward to collaborating with more local artists in the coming days. Please contact me if you have something or someone in mind, including yourself.

Skipped the 'chief guests' opening ceremony because a) it's an independent work of art which is a socio-political commentary & b) opening ceremonies and the ji sirji culture felt too overwhelming .

Video Documentation is being shot by Baju aka Baishampayam Saha.

Limited Edition Prints on Canvas are available for purchase, on view at the North gallery. Please support my independent art by buying something.

Developed at the Subbody Resonance School with Rhizome Lee, Pamela, Adam Koan , Gorka, other students. This is the space to make ideas happen. Ask me about details if you want to learn. The school is a looking for funding to start an Indian scholarship fund, please donate on their GoFundMe page.

Made it happen : Pravin Bhandakkar, SuMan Mondal Rajashekar Roy

Syed Taufik Riaz big support who put me in touch with the performers in Kolkata who helped make it happen!

Sudipta Dawn supported by connecting me to Bulada and Baju.


Sound: Michael Northam, Pradip Chattopadhyay, copyright free artists to be named.

Co-editor : Pravin Bhandakkar

Video : Found Footage of Bhima Koregaon attacks, Badaun, Rohith Vemula by activists, friends, on social media, AmbedkarTV, NDTV and worldwide ews, Butoh Footage shot by Sangeeta at the Subbody School.

Services: Swagat Da, Kaps printing, Mintu Frames, Swapan Projectors and Laptops,

Priyadarshini Ohol

Contact Piu

School Journal
 Dance your Life in 3 Minutes |
Gora, Vishal, Mohet, Adam, Leire, Ruusu, Ashok, Adi, Nabila, Zalina, Ana and Samer
 World Life Resonance Art

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India Butoh Scholarship Program

Hello! My name is Rhizome Lee.

I’m a butoh dancer.

We have the Subbody Resonance Butoh School, Himalaya

in Himalaya, India.

We continued this activity for 20 years.

But now we are facing a big crisis.

Because 20 years ago, we could set the school tuition at a very low level, then everybody could join in.

But in these 20 years, Indian economy developed each year 10 percent increased.

We try to set the school fee as low as possible, but still, we have to increase it a little bit.

Then now we are facing a big crisis because of young Indian people or earnest Asian people cannot pay the school fee.

Then we need your support.

We are going to build an India butoh scholarship program.

By your support, we can build a grant system to support young people for learning this Life Resonance Butoh.

Our method is to stop thinking with moving meditation; swaying, vibrating, breathing and so on. We call this moving meditation as “Medimotion”.

We stop language thinking, and we become subconscious

body mode (subbody).

Then automatically subconscious movement comes out spontaneously.

We follow it by the whole body, and this becomes our “subbody butoh creation”. Not only butoh dance but also the drawing, music, writing and so on.

We can spread this method to all kind of art genre.

 In this Life Resonance Art Method, we don’t need ant equipment.

Only we have the body, that’s OK. Just learning to stop thinking.

So everybody can become an artist only one in the world.

To build this program, to support the Life Resonance Art, I need your support.

Please support this Life Resonance Art and develop it together.

We need your push. Only one push, please!

Then we can spread this to the world.

Many young and earnest people can learn this method, and become a unique artist.

Thank you very much.


                                                                   Rhizome Lee



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School Journal
Transittion Rhizome "Descending to Bone Kid" 
 September 30, 2018

Transition Rhizome

One progress has been brought to Nomad Rhizome.
Adam guided to overlap the end of one dance with the beginning of the next dance.
By this, from the beginning to the end is organically connected.
We could transform into one Rhizome.
Yes, at last, we turned into a creature.

Read more

Sinking into darkness of the body
How can we become transparent? | Rhizome Lee 
 28 September 2018

What is Transparency?

Listen to inside 50%, outside 50%.
Keep this balance exactly to be transparent.
Transparency means not being bound by anything, not bound by internal elements and external elements, and we can become Transparent Life.
The word of inside and outside is tricky, it changes always depend on the focusing condition.

Subbody mode

For example, when you are subbody mode, inside means inner Qualia; feeling, emotion, desire, memory, imagination and so on, outside means present physical resonance with the environment.

Cobody mode

When we are cobody mode, outside becomes friend’s movement and inside becomes your self.

ubbody=cobody Theater

In the theater, outside becomes the audience, and inside becomes the dancers.

Performance is the training chance to open the Transparent Life Resonance to the world.
In the performance we are tend to be bound by the word of “Showing”. This word is bound by the daily dualistic illusion.
Daily mind=body is bound by the dualistic human illusion of <self and others>, separated inside and outside firmly, and we are bound by the pressure, “I have to show myself to outside.”
But, this word “show” is dualistic illusion, “I” show something.
In the real aspect of Life, there is just Life Resonance, in the resonance, there is no subject, no object. But, daily body is bound by the illusion of “I” as the subject, and regard the others as the object.
We need to take of all of these illusions to become the Transparent Life.

Not being bound by anything

Transparency means not being bound by anything.
It means not bound by yourself, not by the group and not by the audience and the world.

Steal the steps

Not bound by “I”, ego, self, all inner Qualia; feeling, emotion, desire and so on.
Zeami said, “Steal the steps”. When you do strong step or big movement, you steal the sound of steps. Then you can keep the transparent balance. When you want to shout, do it as the “silent shout”, then you are not bound by the emotion.

Real-time Resonance

Not bound by the group. Even if you confirmed the Jo-ha-Kyu development with the group rehearsal, always everyone research the best MA of timing and spacing, and if you find novel resonance pattern, immediately follow it even it is out of confirmation in the meeting. Then Jo-Ha-kyu will be co-created in the real-time Life Resonance.

Riken (Distant) eye

In the performance if you are afraid of the critical eye of audience,
swallow it as your Riken (distant) eye. And you can see yourself always and able to find the best MA and resonance pattern.

Multiple Life Resonance

Actually, we are living in the multiple resonance world of the Qualia.
All dualistic judgment and hierarchy are the human illusion.
Become Life!
Become the Transparent Life which is not by anything!
Become Rhizome!
Become a Secret!

Read more "Sinking into the darkness of body"

 World Life Resonance Art


Jonathan will perform
"Exposing the exposition"
after 7 years

I'm so glad to hear that the 7 years old subbody
which was born in Himalaya is still alive.
please continue to deepen it.
Hey Lee ! It is still the same and yet seven years older.
The more I research in this talking butoh thing, the more it becomes improvisation.
Next year I have a residency and will make somehow a formal piece out of it.
I like slow cooking creation. We are friends now...


We passed through the third week of #exin somehow successfully. One more to go.
Tonight we share performances again at Garage. I was told the mad butosopher would show up with an extract of Exposing the exposition, born 7 years ago at Subbody butoh school.
Photo by Raúl Bartolome
See you there! (You wish...!)
#exindance #corfu #passingthrough #flyinglow #dance — in Corfu, Kerkira, Greece.

Contact Jonathan

 World Life Resonance Art
 Edge by Kaska and Jordi by


A certain place that your Life transforms

I ask all you butoh creators on my friends list this: where can you engage in serious butoh study with international co-researchers 5 days a week all year-round like an unending residency? If you know of a place, let me know because I only know of workshops here and there and places where you have to jump around from one studio to the other in a big city (e.g. Tokyo).

The story behind Subbody in the Himalayas goes back 20 years. Before then, Rhizome Lee (Japan-based) had been touring much, but was unsatisfied with the degree of research he was engaging in. A thought crossed his mind that he needed a perfect location in the world to engage in serious study of butoh based in Hijikata's method. The point was not to copy Hijikata but to go underneath the artist in order to discover his endless creativity.

It took 7 years later in Dharamsala, India for Lee to complete the school built specifically for the creation process of butoh. The building has been up 13 years, and Lee is still engaged in endless research. This is not a place to dip your feet in. This is a place to transform your entire life to butoh. Exactly what Hijikata expected of a butoh dancer. All or nothing.

For me, it has certainly transformed my life, and I can see no other way than the butoh life. Every single day here, I am getting a new epiphany. Research has become my life. I have even spent a little over a year writing this manual that is available free here - This is not uncommon that big creative works, genres, or creative movements come out as a result of passing through the school. This is a house of creation. I may even venture to say that if you come in with little creativity, you leave with a surplus of it.

The school has 2 dance floors, an amphitheater, and is situated with a beautiful view of the Himalayan mountains.

Contact Nataliya



Friends, you have to go here!

In this place life is created, the horizons and openings are expanded. This place gives the possibility of entering a deep study of the dance in a beautiful environment in the Indian Himalayas, investigating in motion the waters that lying the space we are.
We dive through the method developed by master rhizome lee, "subbody resonance butoh" (the subconscious and subtle body, and its ability to resonate), and we jump to savor a more alive world.
Dance here three weeks already, enjoying a lot!
Friends, you have to go here... one day, one week, one month, whatever you need... all the information here:

En este lugar se crea vida, se amplian los horizontes y las aperturas. Este lugar da la posibilidad de adentrarse en un estudio profundo de la danza butoh en un entorno precioso en el Himalaya indio, investigando en movimiento las aguas que mecen el espacio que somos.
Buceamos a través del método que ha desarrollado el maestro Rhizome Lee, "Subbody resonance butoh" (El cuerpo subconsciente y sutil, y su capacidad de resonar), y saltamos a saborear un mundo más vivo.
Danzo por aquí tres semanas ya, disfrutando mucho!
Amigos, hay que ir aquí... un día, una semana, un mes, lo que necesites... Toda la información aquí:

Contact Nataliya

 World Life Resonance Art

Maki (Wodico)


Maki Tojo first Butoh Performance
"Tosoukou no hito"

When: Sunday, 28 October 2018 from 18:40-19:30
Where: a factory MInato-ku, Nagoya-city, Japan-

Hosted by 東城真己 Maki Tojo/をぢこ

Contact Maki



#Kolkata Call for volunteers:

I'm doing an Audio Visual installation at the Academy of Fine Arts from the 2nd to 8th October 2018 titled "Dehumanized Body : India 2018." Everyday, for 1/2 hour from 6-6:30 the artist and audience becomes a live part of the artwork. This performance as well as the installation is about the continuous ongoing dehumanization of people by individuals and state. I have channelled our violent surroundings and times through my body into the piece. It is a current cultural commentary.

The work is meant to force an acknowledgement of how violent a society we are without recourse to superficial delusions of grandeur, to show reality, to present a mirror and to evoke a response for change. The motivation is to do the job of an artist. The elements used to design the performance are "objects used to dehumanize" , "artist" , "mirrors" , "ongoing visual projections of the installation" , "sound" and "audience".

I need help to manage the audience interaction as I perform. To volunteer, please contact me on or 9967303965

Contact Piu

Sinking into darkness of the body
Colonial cell 
 22 September 2018

The medimotion let wake up the Life memory of cell

I hope the further co-research that examines the hypothesis that various medimotion is able to activate the Life memories that are hidden in the cells.

<The medimotion> which is the moving meditation has the power to let wake up the cell memories which is preserved for four billion years.
The following new discoveries of the year and the revolution of subbody method enabled for the first time were brought by the resonant explosion of the Life memories which was all awakened by this <Medimotion>.
Let's look back on the new discoveries and the revolution of subbody method.

1. <Cobody Dreaming Share>

<The placenta layer's Hidden skin resonance> and <swarm medimotion> calls up the Life memories of the <colony cells Age>, and revitalize the inner Qualia of moving in the various groups that slept in the cell.
It realized the <cobody dreaming share> that we share each other's various cobody Qualia from the darkness of the body of all the co-researchers.

2. <Resonant research of deterritorialization>

A series conditioning that recalls the hidden memories that each cell has undergone all life stages and each part of the body can be replaced each other, made possible <Resonant Research> of <Deterritorialization>. It opened people's infinite creativity of Life.

3. <Resonant Yoga - Resonant Research - Co-Midwife>

<Resonant yoga>, who share the best meditation conditioning every morning, and <Resonant research> to share the best finding each other through activating the hidden Life memory, leads to the realization of <Resonant Midwife>.

4. Rhizome way of De-self

Repetition of long-term memory over the ego builds self-identity and has grown a fantasy tree called "I" in the brain. Before I tried to de-self to my ego, but, it didn't work well. But, now we found the rhizomatic alternative way to calm down ego with mixing various <Rhizome conditioning>, Deterritorialization>, and sharing method of <Dancing the behind, between, over and under>.

5. <Resonance Rhizome> by integrating the various resonance techniques

The sharing of various resonance techniques such as Awase-hanare( same-different resonance), the mirror, disc and follow resonance, 1:2, 2:3, m: n, to activate various forgotten resonance pattern as Life, by the multiple resonance of them, we could realize <Nomad Rhizome> and <Resonance Rhizome> co-creation method without any choreographer.

6. Jo-Ha-Kyu Co-creation

Each dancer initiates a part of Jo-ha-Kyu by own Qualia and the others co-create the world with same or different resonance pattern.

Jo: A initiates to own world and the others co-create
with finding micro Jo-ha-Kyu.
Ha1:B initiates and the others co-create.
Ha2: C initiates and the others co-create.
Ha3: D initiates and the others co-create.
Kyu: E initiated and the others co-creates ending together.
After 20 years struggle, finally we found this co-creation method. We are experimenting to deepen it every week.

7.Internalization of rules of Life

The last challenge of the revolution of the school is how to vanish the rules. We had the three principles of not talking, not being late, not absent without remodeling reminds us.
To shift the external rule to the intrinsic maxim is the last issue.
When everybody builds own
maxim for the unity as <one Life> and everybody could behave, as a co-existence Rhizome who do not express self too much, and not exerting its self excessively, we can realize the infinite diversity of Life, the Revolution of the Subbody school be fulfilled.

Despite pursuing its realization for 20 years, Most of these have not been possible to realize.
The reason why it could be realized at once in a sudden this year is that the small <new techniques> mentioned above suddenly resonated with each other, and unlocked Life memories that had been sleeping in the cell, and awoke explosively at once. It seems to be due to that. When a revolution happens, like this multiple layered resonance happens at once.

Along with the reverence for infinite creativity of Life, the collaborative research of the <Life memory hypothesis> further heads for collaborative research such as Prototype, Archetype , Mother-type, Projection, Transference, Dreaming up, Possesses body, Blood of Butoh, Butoh of Life, Transparency and so on.
The aim is to find the optimum medimotion conditioning according to the characteristics of the Qualia lurking in each cell.
Group research around this is likely to be one pillar of this term.

Read more "Sinking into the darkness of body"

School Journal
21September 2018

Nomad Rhizome in Chatle Rock Garden

 Monsoon is finishin. We went to Chatle Rock Garden, and danced Nomad Rhizome, which everybody find faborite place, and co-create with travelling each place.

Read more

Sinking into darkness of the body
Tatsumi Hijikata 
 Deleuze and Guattari
 20 September 2018

The amazing synchronicity of Hijikata and Deleuze

We could find so many amazing synchronicity between Hijikata and Deleuze.

1. First synchronicity about the ego

Hijikata said, “We have to go to the place before the differentiation of self and others.”
Deleuze said, “To reach, not the point where one no longer says I, but the point where it is no longer of any importance whether one says I. We are no longer ourselves.”
Both are the way to release from the modern bondage of ego.

2. Second synchronicity of the transformation method to overcome the ego bind

Hijikata invented <Reduction by X and regeneration>,
Deleuze invented <Deterrtorialization and reterritorialization>.
Both are the transformation methods to release from all kind of binds; ego, self-identity, humanity, sexuality, nationality and so on.
X and the territory can be anything. Then both method is completely the same.
You can replace “territorialization” into X, then Hijikata method becomes "Reduce the territorialization" as the same as deterritorialization.
You can replace “self-identity” into X, then your any part of the body can travel anywhere and transform anything, it means your part become nomad beyond the border between you and others.
You can reduce “the restraint by ego’s territorialization to the body” then each part of the body can connect others and separate freely.
During co-research of <Reduction by X and regeneration> and <Deterritorrialization and reterritorialization>, gradually we could find the amazing synchronicity of both methods.

3. Third synchronicity of "Becoming"

It is a miraculous coincidence, because they are completely the same.
Becoming is the most fundamental technique of Hijikata Butoh. Butoh is not human expression, but becoming as the Life, the inevitable becoming to survive.
Deleuze said, “Become wolf, become a woman, become a child, become molecular, become an unrecognizable secret, become a rhizome!"
Becoming unrecognizable one is exactly the same with “Clouding (obscuring) method of the body” in “Sick Dancing princess “ by Hijikata.
Hijikata guided to become the chimera. Chimera is a being that various Qualia merged into a body and becoming something that we cannot grab what is it.

Read more "Sinking into the darkness of body"

 World Life Resonance Art


Tohoku Butoh Migakushi Performance

東北舞踏 三角標 「舞踏小屋ライブ」in 千厩

When: SUN, 7 OCT AT 19:00

Where: in front of Kumagai musum, Itinosek, Iwate, Japan



Adam workshop in Kolkata

Culture Monks presents

Coming up in Decemer 2018, a Butoh intensive workshop guided by Adam Koan.

Adam Koan who hails from the USA, is an international butoh performer, educator, writer, poet and scholar. He has trained, performed and taught Butoh throughout the world.

This workshop is open to everyone who is ready for an intensive experience which will involve movement based work.

The workshop is limited to 8 participants only.
To apply for the intensive workshop , please email

Contact Adam

Recomended Books
for studying subbody method
 8 September 2018

"Rhizome" Deuleuze & Guattari

A book that decided my Life

There is no big influence given to me as much as this book.
When I have read it, immediately Rhizome and I became oneness by strong Life Resonance.

1970' I have hated the old-fashioned centralized system of the revolutionary party that I was engaged at that time in the Anti-Vietnam War movement. And I was looking for a way that builds another way of the human relationship.
"Rhizome" of Deluze=Guattari was perfect for the desire of my Life at that time.
After that, I bet on my Life to realize the Rhizome.
I changed my name to Rhizome Lee and investigated in to realize the Rhizome in Butoh creation.
It took me a long time to notice that my ego has to take off the influence of the dualistic Tree-like hierarchic system, and it became possible to break it by myself just recently.

I am reading this book again now. Even after reading for 40 years, it is still a book that is fresh and learned a lot. I encourage you to read this by all means.
If you do not have time, please read it only in marking with yellow color. That is the essence of the essence of the Rhizome.

Read more "Sinking into the darkness of body"



Introduction of A Thousand Plateaus
by Deleuze & Guattari

The two of us wrote Anti-Oedipus together. Since each of us was several, there was already quite a crowd. Here we have made use of everything came within range, what was closest as well as farthest away. We assigned clever pseudonyms to prevent recognition. Why have we kept own names? Out of habit, purely out of habit. To make ourselves unrecognizable in turn. To render imperceptible, not ourselves, but what makes us act, feel, and think. Also because it's nice to talk like everybody else, to say the sun rises, when everybody knows it's only a manner of speaking. To reach, not the point where one no longer says I, but the point where it is no longer of any importance whether one says I. We are no longer ourselves. Each will know his own. We have been aided, inspired, multiplied. A book has neither object nor subject; it is made of variously for matters, and very different dates and speeds. To attribute the book subject is to overlook this working of matters, and the exteriority of their relations. It is to fabricate a beneficent God to explain geological movements. In a book, as in all things, there are lines of articulation segmentarity, strata and territories; but also lines of flight, movement deterritorialization and destratification. Comparative rates of flow on


these lines produce phenomena of relative slowness and viscosity, or, on contrary, of acceleration and rupture. All this, lines and measurable speeds, constitutes an assemblage. A book is an assemblage of this kind, and as such is unattributable. It is a multiplicity-but we don't know yet at the multiple entails when it is no longer attributed, that is, after it has been elevated to the status of a substantive. One side of a machinic assemblage faces the strata, which doubtless make it a kind of organism, or signing totality, or determination attributable to a subject; it also has a side facing a body without organs, which is continually dismantling the organism, causing asignifying particles or pure intensities to pass or circulate, and attributing to itself subjects that it leaves with nothing more than a name as the trace of an intensity. What is the body without organs of a book? There are several, depending on the nature of the lines considered, their particular grade or density, and the possibility of their converging on "plane of consistency" assuring their selection. Here, as elsewhere, the units of measure are what is essential: quantify writing. There is no difference between what a book talks about and how it is made. Therefore a book has no object. As an assemblage, a book has only itself, in connection with other assemblages and in relation to other bodies without organs. We will never ask what a book means, as signified or signifier; we will not look for anything to understand in it. We will ask what it functions with, in connection with what other things it does or does not transmit intensities, in which other multiplicities its own are inserted and metamorphosed, and with what bodies without organs it makes its own converge. A book exists only through the outside and on the outside. A book itself is a little machine; what is the relation (also measurable) of this literary machine to a war machine, love machine, revolutionary machine, etc.-and an abstract machine that sweeps them along? We have been criticized for overquoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into, must be plugged into in order to work. Kleist and a mad war machine, Kafka and a most extraordinary bureaucratic machine ... (What if one became animal or plant through literature, which certainly does not mean literarily? Is it not first through the voice that one becomes animal?) Literature is an assemblage. It has nothing to do with ideology. There is no ideology and never has been. All we talk about are multiplicities, lines, strata and segmentarities, ines of flight and intensities, machinic assemblages and their various ypes, bodies without organs and their construction and selection, the )lane of consistency, and in each case the units of measure. Stratometers, teleometers, BwO units of density, BwO units of convergence: Not only do hese constitute a quantification of writing, but they define writing as ilways the measure of something else. Writing has nothing to do with


signifying. It has to do with surveying, mapping, even realms that are yet to come.

A first type of book is the root-book. The tree is already the image of the world, or the root the image of the world-tree. This is the classical book, as noble, signifying, and subjective organic interiority (the strata of the book). The book imitates the world, as art imitates nature: by procedures specific to it that accomplish what nature cannot or can no longer do. The law of the book is the law of reflection, the One that becomes two. How could the law of the book reside in nature, when it is what presides over the very division between world and book, nature and art? One becomes two: whenever we encounter this formula, even stated strategically by Mao or understood in the most "dialectical" way possible, what we have before us is the most classical and well reflected, oldest, and weariest kind of thought. Nature doesn't work that way: in nature, roots are taproots with a more multiple, lateral, and circular system of ramification, rather than a dichotomous one. Thought lags behind nature. Even the book as a natural reality is a taproot, with its pivotal spine and surrounding leaves. But the book as a spiritual reality, theTree or Root as an image, endlessly develops the law of the One that becomes two, then of the two that become four ... Binary logic is the spiritual reality of the root-tree. Even a discipline as "advanced" as linguistics retains the root-tree as its fundamental image, and thus remains wedded to classical reflection (for example, Chomsky and his grammatical trees, which begin at a point S and proceed by dichotomy). This is as much as to say that this system of thought has never reached an understanding of multiplicity: in order to arrive at two following a spiritual method it must assume a strong principal unity. On the side of the object, it is no doubt possible, following the natural method, to go directly from One to three, four, or five, but only if there is a strong principal unity available, that of the pivotal taproot supporting the secondary roots. That doesn't get us very far. The binary logic of dichotomy has simply been replaced by biunivocal relationships between successive circles. The pivotal taproot provides no better understanding of multiplicity than the dichotomous root. One operates in the object, the other in the subject. Binary logic and biunivocal relationships still dominate psychoanalysis (the tree of delusion in the Freudian interpretation of Schreber's case), linguistics, structuralism, and even information science.

The radicle-system, or fascicular root, is the second figure of the book, to which our modernity pays willing allegiance. This time, the principal root has aborted, or its tip has been destroyed; an immediate, indefinite multiplicity of secondary roots grafts onto it and undergoes a flourishing development. This time, natural reality is what aborts the principal root, but the root's unity subsists, as past or yet to come, as possible. We must ask


reflexive, spiritual reality does not compensate for this state of things by demanding an even more comprehensive secret unity, or a more extensive totality. Take William Burroughs's cut-up method: the folding of one text onto another, which constitutes multiple and even adventitious roots (like a cutting), implies a supplementary dimension to that of the texts under consideration. In this supplementary dimension of folding, unity continues its spiritual labor. That is why the most resolutely fragmented work can not be presented as the Total Work or Magnum Opus. Most modern methods for making series proliferate or a multiplicity grow are perfectly valid one direction, for example, a linear direction, whereas a unity of totalization asserts itself even more firmly in another, circular or cyclic, dimension. Whenever a multiplicity is taken up in a structure, its growth is offset by a reduction in its laws of combination. The abortionists of unity are indeed angel makers, doctores angelici, because they affirm a properly angelic and superior unity. Joyce's words, accurately described as having "multiple roots," shatter the linear unity of the word, even of language, only to posit a cyclic unity of the sentence, text, or knowledge. Nietzsche's aphorisms shatter the linear unity of knowledge, only to invoke the cyclic unity of the eternal return, present as the nonknown in thought. This is as much as to say that the fascicular system does not really break with dualism, with the complementarity between a subject and an object, a natural reality and a spiritual reality: unity is consistently thwarted and obstructed in the object, while a new type of unity triumphs in the subject. The world has lost its pivot; the subject can no longer even dichotomize, but accedes to a higher unity, of ambivalence or overdetermination, in an always supplementary dimension to that of its object. The world has become chaos, but the book remains the image of the world: radicle-chaosmos rather than root-cosmos. A strange mystification: a book all the more total for being fragmented. At any rate, what a vapid idea, the book as the image of the world. In truth, it is not enough to say, "Long live the multiple," difficult as is to raise that cry. No typographical, lexical, or even syntactical cleverness is enough to make it heard. The multiple must be made, not by always adding a higher dimension, but rather in the simplest of ways, by dint of sobriety, with the number of dimensions one already has available—always n-1 (the only way the one belongs to the multiple: always subtracted). Subtract the unique from the multiplicity to be constituted; write at n - I dimensions. A system of this kind could be called a rhizome. A rhizome as subterranean stem is absolutely different from roots and radicles. Bulbs and tubers are rhizomes. Plants with roots or radicles may be rhizomorphic in other respects altogether: the question is whether plant life in its specificity is not entirely rhizomatic. Even some animals are, in their pack form. Rats are rhizomes. Burrows are too, in all of their func


tions of shelter, supply, movement, evasion, and breakout. The rhizome itself assumes very diverse forms, from ramified surface extension in all directions to concretion into bulbs and tubers. When rats swarm over each other. The rhizome includes the best and the worst: potato and couchgrass, or the weed. Animal and plant, couchgrass is crabgrass. We get the distinct feeling that we will convince no one unless we enumerate certain approximate characteristics of the rhizome.

1 and 2. Principles of connection and heterogeneity: any point of a rhizome can be connected to anything other, and must be. This is very different from the tree or root, which plots a point, fixes an order. The linguistic tree on the Chomsky model still begins at a point S and proceeds by dichotomy. On the contrary, not every trait in a rhizome is necessarily linked to a linguistic feature: semiotic chains of every nature are connected to very diverse modes of coding (biological, political, economic, etc.) that bring into play not only different regimes of signs but also states of things of differing status. Collective assemblages of enunciation function directly within machinic assemblages; it is not impossible to make a radical break between regimes of signs and their objects. Even when linguistics claims to confine itself to what is explicit and to make no presuppositions about language, it is still in the sphere of a discourse implying particular modes of assemblage and types of social power. Chomsky's grammaticality, the categorical S symbol that dominates every sentence, is more fundamentally a marker of power than a syntactic marker: you will construct grammatically correct sentences, you will divide each statement into a noun phrase and a verb phrase (first dichotomy ... ). Our criticism of these linguistic models is not that they are too abstract but, on the contrary, that they are not abstract enough, that they do not reach the abstract machine that connects a language to the semantic and pragmatic contents of statements, to collective assemblages of enunciation, to a whole micropolitics of the social field. A rhizome ceaselessly establishes connections between semiotic chains, organizations of power, and circumstances relative to the arts, sciences, and social struggles. A semiotic chain is like a tuber agglomerating very diverse acts, not only linguistic, but also perceptive, mimetic, gestural, and cognitive: there is no language in itself, nor are there any linguistic universals, only a throng of dialects, patois, slangs, and specialized languages. There is no ideal speaker-listener, any more than there is a homogeneous linguistic community. Language is, in Weinreich's words, "an essentially heterogeneous reality."1 There is no mother tongue, only a power takeover by a dominant language within a political multiplicity. Language stabilizes around a parish, a bishopric, a capital. It forms a bulb. It evolves by subterranean stems and flows, along river valleys or train tracks; it spreads like a patch of oil.2 It is always possible to break a language


down into internal structural elements, an undertaking not fundamentally different from a search for roots. There is always something genealogical about a tree. It is not a method for the people. A method of the rhizome type, on the contrary, can analyze language only by decentering it onto other dimensions and other registers. A language is never closed upon itself, except as a function of impotence.

3. Principle of multiplicity: it is only when the multiple is effectively treated as a substantive, "multiplicity," that it ceases to have any relation to the One as subject or object, natural or spiritual reality, image and world. Multiplicities are rhizomatic, and expose arborescent pseudomultiplicities for what they are. There is no unity to serve as a pivot in the object, or to divide in the subject. There is not even the unity to abort in the object "return" in the subject. A multiplicity has neither subject nor object, on1y determinations, magnitudes, and dimensions that cannot increase in number without the multiplicity changing in nature (the laws of combination therefore increase in number as the multiplicity grows). Puppet strings, as a rhizome or multiplicity, are tied not to the supposed will of an artist or puppeteer but to a multiplicity of nerve fibers, which form another puppet in other dimensions connected to the first: "Call the strings or rods that move the puppet the weave. It might be objected that its multiplicity resides in the person of the actor, who projects it into the text. Granted; but the actor's nerve fibers in turn form a weave. And they fall rough the gray matter, the grid, into the undifferentiated.... The interplay approximates the pure activity of weavers attributed in myth to the Fates or Norns."3 An assemblage is precisely this increase in the dimensions of a multiplicity that necessarily changes in nature as it expands its connections. There are no points or positions in a rhizome, such as those found in a structure, tree, or root. There are only lines. When Glenn Gould speeds up the performance of a piece, he is not just displaying virtuosity, he is transforming the musical points into lines, he is making the whole piece proliferate. The number is no longer a universal concept measuring elements according to their emplacement in a given dimension, but has itself become a multiplicity that varies according to the dimensions considered (the primacy of the domain over a complex of numbers attached to that domain). We do not have units (unités) of measure, only multiplicities or varieties of measurement. The notion of unity (unités) appears only when there is a power takeover in the multiplicity by the signifier or a correponding subjectification proceeding: This is the case for a pivot-unity forming the basis for a set of biunivocal relationships between objective elements or points, or for the One that divides following the law of a binary logic of differentiation in the subject. Unity always operates in an empty dimension supplementary to that of the system considered (overcoding).


The point is that a rhizome or multiplicity never allows itself to be overcoded, never has available a supplementary dimension over and above its number of lines, that is, over and above the multiplicity of numbers attached to those lines. All multiplicities are flat, in the sense that they fill or occupy all of their dimensions: we will therefore speak of a plane of consistency of multiplicities, even though the dimensions of this "plane" increase with the number of connections that are made on it. Multiplicities are defined by the outside: by the abstract line, the line of flight or deterritorialization according to which they change in nature and connect with other multiplicities. The plane of consistency (grid) is the outside of all multiplicities. The line of flight marks: the reality of a finite number of dimensions that the multiplicity effectively fills; the impossibility of a supplementary dimension, unless the multiplicity is transformed by the line of flight; the possibility and necessity of flattening all of the multiplicities on a single plane of consistency or exteriority, regardless of their number of dimensions. The ideal for a book would be to lay everything out on a plane of exteriority of this kind, on a single page, the same sheet: lived events, historical determinations, concepts, individuals, groups, social formations. Kleist invented a writing of this type, a broken chain of affects and variable speeds, with accelerations and transformations, always in a relation with the outside. Open rings. His texts, therefore, are opposed in every way to the classical or romantic book constituted by the interiority of a substance or subject. The war machine-book against the State apparatus-book. Flat multiplicities of n dimensions are asignifying and asubjective. They are designated by indefinite articles, or rather by partitives (some couchgrass, some of a rhizome ...).

4. Principle of asignifying rupture: against the oversignifying breaks separating structures or cutting across a single structure. A rhizome may be broken, shattered at a given spot, but it will start up again on one of its old lines, or on new lines. You can never get rid of ants because they form an animal rhizome that can rebound time and again after most of it has been destroyed. Every rhizome contains lines of segmentarity according to which it is stratified, territorialized, organized, signified, attributed, etc., as well as lines of deterritorialization down which it constantly flees. There is a rupture in the rhizome whenever segmentary lines explode into a line of flight, but the line of flight is part of the rhizome. These lines always tie back to one another. That is why one can never posit a dualism or a dichotomy, even in the rudimentary form of the good and the bad. You may make a rupture, draw a line of flight, yet there is still a danger that you will reencounter organizations that restratify everything, formations that restore power to a signifier, attributions that reconstitute a subject—anything you like, from Oedipal resurgences to fascist concretions. Groups


and individuals contain microfascisms just waiting to crystallize. Yes, couchgrass is also a rhizome. Good and bad are only the products of an active and temporary selection, which must be renewed. How could movements of deterritorialization and processes of reterritalization not be relative, always connected, caught up in one another? The orchid deterritorializes by forming an image, a tracing of a wasp; but the wasp reterritorializes on that image. The wasp is nevertheless derritorialized, becoming a piece in the orchid's reproductive apparatus. But it reterritorializes the orchid by transporting its pollen. Wasp and orchid, as heterogeneous elements, form a rhizome. It could be said that the orchid imitates the wasp, reproducing its image in a signifying fashion (mimesis, mimicry, lure, etc.). But this is true only on the level of the strata-a parallelism between two strata such that a plant organization on one imitates an animal organization on the other. At the same time, something else entirely is going on: not imitation at all but a capture of code, surplus value of code, an increase in valence, a veritable becoming, a becoming-wasp of the orchid and a becoming-orchid of the wasp. Each of these becomings brings about the deterritorialization of one term and the reterritorialization of the other; the two becomings interlink and form relays in a circulation of intensities pushing the deterritorialization ever further. There is neither imitation nor resemblance, only an exploding of two heterogeneous series on the line of flight composed by a common rhizome that can no longer be attributed to or subjugated by anything signifying. Rémy Chauvin expresses it well: "the aparallel evolution of two beings that have absolutely nothing to do with each other."4 More generally, evolutionary schemas may be forced to abandon the old model of the tree and descent. Under certain conditions, a virus can connect to germ cells and transmit itself as the cellular gene of a complex species; moreover, it can take flight, move into the cells of an entirely different species, but not without bringing with it "genetic information" from the first host (for example, Benveniste and Todaro's current research on a type C virus, with its double connection to baboon DNA and the DNA of certain kinds of domestic cats). Evolutionary schemas would no longer follow models of arborescent descent going from the least to the most differentiated, but instead a rhizome operating immediately in the heterogeneous and jumping from one already differentiated line to another.5 Once again, there is aparallel evolution, of the baboon and the cat; it is obvious that they are not models or copies of each other (a becoming-baboon in the cat does not mean that the cat "plays" baboon). We form a rhizome with our viruses, or rather our viruses cause us to form a rhizome with other animals. As Francois Jacob says, transfers of genetic material by viruses or through other procedures, fusions of cells originating in different species, have results analogous to


those of "the abominable couplings dear to antiquity and the Middle Ages."6 Transversal communications between different lines scramble the genealogical trees. Always look for the molecular, or even submolecular, particle with which we are allied. We evolve and die more from our polymorphous and rhizomatic flus than from hereditary diseases, or diseases that have their own line of descent. The rhizome is an anti-genealogy. The same applies to the book and the world: contrary to a deeply rooted belief, the book is not an image of the world. It forms a rhizome with the world, there is an aparallel evolution of the book and the world; the book assures the deterritorialization of the world, but the world effects a reterritorialization of the book, which in turn deterritorializes itself in the world (if it is capable, if it can). Mimicry is a very bad concept, since it relies on binary logic to describe phenomena of an entirely different nature. The crocodile does not reproduce a tree trunk, any more than the chameleon reproduces the colors of its surroundings. The Pink Panther imitates nothing, it reproduces nothing, it paints the world its color, pink on pink; this is its becoming-world, carried out in such a way that it becomes imperceptible itself, asignifying, makes its rupture, its own line of flight, follows its "aparallel evolution" through to the end. The wisdom of the plants: even when they have roots, there is always an outside where they form a rhizome with something else-with the wind, an animal, human beings (and there is also an aspect under which animals themselves form rhizomes, as do people, etc.). "Drunkenness as a triumphant irruption of the plant in us." Always follow the rhizome by rupture; lengthen, prolong, and relay the line of flight; make it vary, until you have produced the most abstract and tortuous of lines of n dimensions and broken directions. Conjugate deterritorialized flows. Follow the plants: you start by delimiting a first line consisting of circles of convergence around successive singularities; then you see whether Inside that line new circles of convergence establish themselves, with new points located outside the limits and in other directions. Write, form a rhizome, increase your territory by deterritorialization, extend the line of flight to the point where it becomes an abstract machine covering the entire plane of consistency. "Go first to your old plant and watch carefully the watercourse made by the rain. By now the rain must have carried the seeds far away. Watch the crevices made by the runoff, and from them determine the direction of the flow. Then find the plant that is growing at the farthest point from your plant. All the devil's weed plants that are growing in between are yours. Later ... you can extend the size of your territory by following the watercourse from each point along the way."7 Music has always sent out lines of flight, like so many "transformational multiplicities," even overturning the very codes that structure or


arborify it; that is why musical form, right down to its ruptures and proliferations, is comparable to a weed, a rhizome.8

5 and 6. Principle of cartography and decalcomania: a rhizome is not amenable to any structural or generative model. It is a stranger to any idea of genetic axis or deep structure. A genetic axis is like an objective pivotal unity upon which successive stages are organized; a deep structure is more like a base sequence that can be broken down into immediate constituents, while the unity of the product passes into another, transformational and subjective, dimension. This does not constitute a departure from the representative model of the tree, or root-pivotal taproot or fascicles (for example, Chomsky's "tree" is associated with a base sequence and represents the process of its own generation in terms of binary logic). A variation on the oldest form of thought. It is our view that genetic axis and profound structure are above all infinitely reproducible principles of tracing. All of tree logic is a logic of tracing and reproduction. In linguistics as in psychoanalysis, its object is an unconscious that is itself representative, crystallized into codified complexes, laid out along a genetic axis and distributed within a syntagmatic structure. Its goal is to describe a de facto state, to maintain balance in intersubjective relations, or to explore an unconscious that is already there from the start, lurking in the dark recesses of memory and language. It consists of tracing, on the basis of an overcoding structure or supporting axis, something that comes ready-made. The tree articulates and hierarchizes tracings; tracings are like the leaves of a tree. The rhizome is altogether different, a map and not a tracing. Make a map, not a tracing. The orchid does not reproduce the tracing of the wasp; it forms a map with the wasp, in a rhizome. What distinguishes the map from the tracing is that it is entirely oriented toward an experimentation in contact with the real. The map does not reproduce an unconscious closed in upon itself; it constructs the unconscious. It fosters connections between fields, the removal of blockages on bodies without organs, the maximum opening of bodies without organs onto a plane of consistency. It is itself a part of the rhizome. The map is open and connectable in all of its dimensions; it is detachable, reversible, susceptible to constant modification. It can be torn, reversed, adapted to any kind of mounting, reworked by an individual, group, or social formation. It can be drawn on a wall, conceived of as a work of art, constructed as a political action or as a meditation. Perhaps one of the most important characteristics of the rhizome is that it always has multiple entryways; in this sense, the burrow is an animal rhizome, and sometimes maintains a clear distinction between the line of flight as passageway and storage or living strata (cf. the muskrat). A map has multiple entryways, as opposed to the tracing, which always comes back "to the same." The map has to do with performance, whereas the trac


ing always involves an alleged "competence." Unlike psychoanalysis, psychoanalytic competence (which confines every desire and statement to a genetic axis or overcoding structure, and makes infinite, monotonous tracings of the stages on that axis or the constituents of that structure), schizoanalysis rejects any idea of pretraced destiny, whatever name is given to it-divine, anagogic, historical, economic, structural, hereditary, or syntagmatic. (It is obvious that Melanie Klein has no understanding of the cartography of one of her child patients, Little Richard, and is content to make ready-made tracings-Oedipus, the good daddy and the bad daddy, the bad mommy and the good mommy-while the child makes a desperate attempt to carry out a performance that the psychoanalyst totally misconstrues.)9 Drives and part-objects are neither stages on a genetic axis nor positions in a deep structure; they are political options for problems, they are entryways and exits, impasses the child lives out politically, in other words, with all the force of his or her desire. Have we not, however, reverted to a simple dualism by contrasting maps to tracings, as good and bad sides? Is it not of the essence of the map to be traceable? Is it not of the essence of the rhizome to intersect roots and sometimes merge with them? Does not a map contain phenomena of redundancy that are already like tracings of its own? Does not a multiplicity have strata upon which unifications and totalizations, massifications, mimetic mechanisms, signifying power takeovers, and subjective attributions take root? Do not even lines of flight, due to their eventual divergence, reproduce the very formations their function it was to dismantle or outflank? But the opposite is also true. It is a question of method: the tracing should always be put back on the map. This operation and the previous one are not at all symmetrical. For it is inaccurate to say that a tracing reproduces the map. It is instead like a photograph or X ray that begins by selecting or isolating, by artificial means such as colorations or other restrictive procedures, what it intends to reproduce. The imitator always creates the model, and attracts it. The tracing has already translated the map into an image; it has already transformed the rhizome into roots and radicles. It has organized, stabilized, neutralized the multiplicities according to the axes of signifiance and subjectification belonging to it. It has generated, structuralized the rhizome, and when it thinks it is reproducing something else it is in fact only reproducing itself. That is why the tracing is so dangerous. It injects redundancies and propagates them. What the tracing reproduces of the map or rhizome are only the impasses, blockages, incipient taproots, or points of structuration. Take a look at psychoanalysis and linguistics: all the former has ever made are tracings or photos of the unconscious, and the latter of language, with all the betrayals that implies (it's not surprising that psychoanalysis tied its fate to that of linguistics).


Look at what happened to Little Hans already, an example of child psychoanalysis at its purest: they kept on BREAKING HIS RHIZOME and BLOTCHING HIS MAP, setting it straight for him, blocking his every way out, until he began to desire his own shame and guilt, until they had rooted shame and guilt in him, PHOBIA (they barred him from the rhizome of the building, then from the rhizome of the street, they rooted him in his parents' bed, they radicled him to his own body, they fixated him on Professor Freud). Freud explicitly takes Little Hans's cartography into account, but always and only in order to project it back onto the family photo. And look what Melanie Klein did to Little Richard's geopolitical maps: she developed photos from them, made tracings of them. Strike the pose or follow the axis, genetic stage or structural destiny-one way or the other, your rhizome will be broken. You will be allowed to live and speak, but only after every outlet has been obstructed. Once a rhizome has been obstructed, arborified, it's all over, no desire stirs; for it is always by rhizome that desire moves and produces. Whenever desire climbs a tree, internal repercussions trip it up and it falls to its death; the rhizome, on the other hand, acts on desire by external, productive outgrowths. That is why it is so important to try the other, reverse but nonsymmetrical, operation. Plug the tracings back into the map, connect the roots or trees back up with a rhizome. In the case of Little Hans, studying the unconscious would be to show how he tries to build a rhizome, with the family house but also with the line of flight of the building, the street, etc.; how these lines are blocked, how the child is made to take root in the family, be photographed under the father, be traced onto the mother's bed; then how Professor Freud's intervention assures a power takeover by the signifier, a subjectification of affects; how the only escape route left to the child is a becoming-animal perceived as shameful and guilty (the becoming-horse of Little Hans, a truly political option). But these impasses must always be resituated on the map, thereby opening them up to possible lines of flight. The same applies to the group map: show at what point in the rhizome there form phenomena of massification, bureaucracy, leadership, fascization, etc., which lines nevertheless survive, if only underground, continuing to make rhizome in the shadows. Deligny's method: map the gestures and movements of an autistic child, combine several maps for the same child, for several different children.10 If it is true that it is of the essence of the map or rhizome to have multiple entryways, then it is plausible that one could even enter them through tracings or the roottree, assuming the necessary precautions are taken (once again, one must avoid any Manichaean dualism). For example, one will often be forced to take dead ends, to work with signifying powers and subjective affections, to find a foothold in formations that are Oedipal or paranoid or even worse,


rigidified territorialities that open the way for other transformational operations. It is even possible for psychoanalysis to serve as a foothold, in spite of itself. In other cases, on the contrary, one will bolster oneself directly on a line of flight enabling one to blow apart strata, cut roots, and make new connections. Thus, there are very diverse map-tracing, rhizomeroot assemblages, with variable coefficients of deterritorialization. There exist tree or root structures in rhizomes; conversely, a tree branch or root division may begin to burgeon into a rhizome. The coordinates are determined not by theoretical analyses implying universals but by a pragmatics composing multiplicities or aggregates of intensities. A new rhizome may form in the heart of a tree, the hollow of a root, the crook of a branch. Or else it is a microscopic element of the root-tree, a radicle, that gets rhizome production going. Accounting and bureaucracy proceed by tracings: they can begin to burgeon nonetheless, throwing out rhizome stems, as in a Kafka novel. An intensive trait starts working for itself, a hallucinatory perception, synesthesia, perverse mutation, or play of images shakes loose, challenging the hegemony of the signifier. In the case of the child, gestural, mimetic, ludic, and other semiotic systems regain their freedom and extricate themselves from the "tracing," that is, from the dominant competence of the teacher's language-a microscopic event upsets the local balance of power. Similarly, generative trees constructed according to Chomsky's syntagmatic model can open up in all directions, and in turn form a rhizome.11 To be rhizomorphous is to produce stems and filaments that seem to be roots, or better yet connect with them by penetrating the trunk, but put them to strange new uses. We're tired of trees. We should stop believing in trees, roots, and radicles. They've made us suffer too much. All of arborescent culture is founded on them, from biology to linguistics. Nothing is beautiful or loving or political aside from underground stems and aerial roots, adventitious growths and rhizomes. Amsterdam, a city entirely without roots, a rhizome-city with its stem-canals, where utility connects with the greatest folly in relation to a commercial war machine. Thought is not arborescent, and the brain is not a rooted or ramified matter. What are wrongly called "dendrites" do not assure the connection of neurons in a continuous fabric. The discontinuity between cells, the role of the axons, the functioning of the synapses, the existence of synaptic microfissures, the leap each message makes across these fissures, make the brain a multiplicity immersed in its plane of consistency or neuroglia, a whole uncertain, probabilistic system ("the uncertain nervous system"). Many people have a tree growing in their heads, but the brain itself is much more a grass than a tree. "The axon and the dendrite twist around each other like bindweed around brambles, with synapses at each of the thorns."12 The same goes for memory. Neurologists and psychophysiolo

gists distinguish between long-term memory and short-term memory (on the order of a minute). The difference between them is not simply


quantitative: short-term memory is of the rhizome or diagram type, and long-term memory is arborescent and centralized (imprint, engram, tracing, or photograph). Short-term memory is in no way subject to a law of contiguity or immediacy to its object; it can act at a distance, come or return a long time after, but always under conditions of discontinuity, rupture, and multiplicity. Furthermore, the difference between the two kinds of memory is not that of two temporal modes of apprehending the same thing; they do not grasp the same thing, memory, or idea. The splendor of the short-term Idea: one writes using short-term memory, and thus short-term ideas, even if one reads or rereads using long-term memory of long-term concepts. Short-term memory includes forgetting as a process; it merges not with the instant but instead with the nervous, temporal, and collective rhizome. Long-term memory (family, race, society, or civilization) traces and translates, but what it translates continues to act in it, from a distance, off beat, in an "untimely" way, not instantaneously. The tree and root inspire a sad image of thought that is forever imitating the multiple on the basis of a centered or segmented higher unity. If we consider the set, branches-roots, the trunk plays the role of opposed segment for one of the subsets running from bottom to top: this kind of segment is a "link dipole," in contrast to the "unit dipoles" formed by spokes radiating from a single center.13 Even if the links themselves proliferate, as in the radicle system, one can never get beyond the One-Two, and fake multiplicities. Regenerations, reproductions, returns, hydras, and medusas do not get us any further. Arborescent systems are hierarchical systems with centers of signifiance and subjectification, central automata like organized memories. In the corresponding models, an element only receives information from a higher unit, and only receives a subjective affection along preestablished paths. This is evident in current problems in information science and computer science, which still cling to the oldest modes of thought in that they grant all power to a memory or central organ. Pierre Rosenstiehl and Jean Petitot, in a fine article denouncing "the imagery of command trees" (centered systems or hierarchical structures), note that "accepting the primacy of hierarchical structures amounts to giving arborescent structures privileged status.... The arborescent form admits of topological explanation.... In a hierarchical system, an individual has only one active neighbor, his or her hierarchical superior….The channels of transmission are preestablished: the arborescent system preexists the individual, who is integrated into it at an allotted place" (signifiance and subjectification). The authors point out that even when one thinks one has reached a multiplicity, it may be a false one-of what we call the radicle


type-because its ostensibly nonhierarchical presentation or statement in fact only admits of a totally hierarchical solution. An example is the famous friendship theorem: "If any two given individuals in a society have precisely one mutual friend, then there exists an individual who is the friend of all the others." (Rosenstiehl and Petitot ask who that mutual friend is. Who is "the universal friend in this society of couples: the master, the confessor, the doctor? These ideas are curiously far removed from the initial axioms." Who is this friend of humankind? Is it the philo-sopher as he appears in classical thought, even if he is an aborted unity that makes itself felt only through its absence or subjectivity, saying all the while, I know nothing, I am nothing?) Thus the authors speak of dictatorship theorems. Such is indeed the principle of roots-trees, or their outcome: the radicle solution, the structure of Power.14 To these centered systems, the authors contrast acentered systems, finite networks of automata in which communication runs from any neigh- bor to any other, the stems or channels do not preexist, and all individuals are interchangeable, defined only by their stateat a given moment-such that the local operations are coordinated and the final, global result syn- chronized without a central agency. Transduction of intensive states replaces topology, and "the graph regulating the circulation of information is in a way the opposite of the hierarchical graph….There is no reason for the graph to be a tree" (we have been calling this kind of graph a map). The problem of the war machine, or the firing squad: is a general necessary for n individuals to manage to fire in unison? The solution without a General is to be found in an acentered multiplicity possessing a finite number of states with signals to indicate corresponding speeds, from a war rhizome or guerrilla logic point of view, without any tracing, without any copying of a central order. The authors even demonstrate that this kind of machinic multiplicity, assemblage, or society rejects any centralizing or unifying automaton as an "asocial intrusion."15 Under these conditions, n is in fact always n – 1. Rosenstiehl and Petitot emphasize that the opposition, centered-acentered, is valid less as a designation for things than as a mode of calculation applied to things. Trees may correspond to the rhizome, or they may burgeon into a rhizome. It is true that the same thing is generally susceptible to both modes of calculation or both types of regulation, but not without undergoing a change in state. Take psychoanalysis as an exam- ple again: it subjects the unconscious to arborescent structures, hierarchical graphs, recapitulatory memories, central organs, the phallus, the phallus-tree-not only in its theory but also in its practice of calculation and treatment. Psychoanalysis cannot change its method in this regard: it bases its own dictatorial power upon a dictatorial conception of the unconscious. Psychoanalysis's margin of maneuverability is therefore very


limited. In both psychoanalysis and its object, there is always a general, always a leader (General Freud). Schizoanalysis, on the other hand, treats the unconscious as an acentered system, in other words, as a machinic network of finite automata (a rhizome), and thus arrives at an entirely different state of the unconscious. These same remarks apply to linguistics; Rosenstiehl and Petitot are right to bring up the possibility of an "acentered organization of a society of words." For both statements and desires, the issue is never to reduce the unconscious or to interpret it or to make it signify according to a tree model. The issue is to produce the unconscious, and with it new statements, different desires: the rhizome is precisely this production of the unconscious. It is odd how the tree has dominated Western reality and all of Western thought, from botany to biology and anatomy, but also gnosiology, theology, ontology, all of philosophy ...: the rootfoundation, Grund, racine, fondement. The West has a special relation to the forest, and deforestation; the fields carved from the forest are populated with seed plants produced by cultivation based on species lineages of the arborescent type; animal raising, carried out on fallow fields, selects lineages forming an entire animal arborescence. The East presents a different figure: a relation to the steppe and the garden (or in some cases, the desert and the oasis),, rather than forest and field; cultivation of tubers by fragmentation of the individual; a casting aside or bracketing of animal raising, which is confined to closed spaces or pushed out onto the steppes of the nomads. The West: agriculture based on a chosen lineage containing a large number of variable individuals. The East: horticulture based on a small number of individuals derived from a wide range of "clones." Does not the East, Oceania in particular, offer something like a rhizomatic model opposed in every respect to the Western model of the tree? André Haudricourt even sees this as the basis for the opposition between the moralities or philosophies of transcendence dear to the West and the immanent ones of the East: the God who sows and reaps, as opposed to the God who replants and unearths (replanting of offshoots versus sowing of seeds).16 Transcendence: a specifically European disease. Neither is music the same, the music of the earth is different, as is sexuality: seed plants, even those with two sexes in the same plant, subjugate sexuality to the reproductive model; the rhizome, on the other hand, is a liberation of sexuality not only from reproduction but also from genitality. Here in the West, the tree has implanted itself in our bodies, rigidifying and stratifying even the sexes. We have lost the rhizome, or the grass. Henry Miller: "China is the weed in the human cabbage patch. ... The weed is the Nemesis of human endeavor... Of all the imaginary existences we attribute to plant, beast and star the weed leads the most satisfactory life of all. True, the weed produces no lilies, no battleships, no Ser


mons on the Mount... Eventually the weed gets the upper hand. Eventually things fall back into a state of China. This condition is usually referred to by historians as the Dark Age. Grass is the only way out.... The weed exists only to fill the waste spaces left by cultivated areas. It grows between, among other things. The lily is beautiful, the cabbage is provender, the poppy is maddening-but the weed is rank growth ... : it points a moral."17 Which China is Miller talking about? The old China, the new, an imaginary one, or yet another located on a shifting map? America is a special case. Of course it is not immune from domination by trees or the search for roots. This is evident even in the literature, in the quest for a national identity and even for a European ancestry or genealogy (Kerouac going off in search of his ancestors). Nevertheless, everything important that has happened or is happening takes the route of the American rhizome: the beatniks, the underground, bands and gangs, successive lateral offshoots in immediate connection with an outside. American books are different from European books, even when the American sets off in pursuit of trees. The conception of the book is different. Leaves of Grass. And directions in America are different: the search for arborescence and the return to the Old World occur in the East. But there is the rhizomatic West, with its Indians without ancestry, its ever-receding limit, its shifting and displaced frontiers. There is a whole American "map" in the West, where even the trees form rhizomes. America reversed the directions: it put its Orient in the West, as if it were precisely in America that the earth came full circle; its West is the edge of the East.18 (India is not the intermediary between the Occident and the Orient, as Haudricourt believed: America is the pivot point and mechanism of reversal.) The American singer Patti Smith sings the bible of the American dentist: Don't go for the root, follow the canal ... Are there not also two kinds of bureaucracy, or even three (or still more)? Western bureaucracy: its agrarian, cadastral origins; roots and fields; trees and their role as frontiers; the great census of William the Conqueror; feudalism; the policies of the kings of France; making property the basis of the State; negotiating land through warfare, litigation, and marriages. The kings of France chose the lily because it is a plant with deep roots that clings to slopes. Is bureaucracy the same in the Orient? Of course it is all too easy to depict an Orient of rhizomes and immanence; yet it is true that in the Orient the State does not act following a schema of arborescence corresponding to preestablished, arborified, and rooted classes; its bureaucracy is one of channels, for example, the much-discussed case of hydraulic power with "weak property," in which the State engenders channeled and channelizing classes (cf. the aspects of Wittfogel's work that have not been refuted).19The despot acts as a river, not as a fountainhead, which is still a


point, a tree-point or root; he flows with the current rather than sitting under a tree; Buddha's tree itself becomes a rhizome; Mao's river and Louis's tree. Has not America acted as an intermediary here as well? For it proceeds both by internal exterminations and liquidations (not only the Indians but also the farmers, etc.), and by successive waves of immigration from the outside. The flow of capital produces an immense channel, a quantification of power with immediate "quanta," where each person profits from the passage of the money flow in his or her own way (hence the reality-myth of the poor man who strikes it rich and then falls into poverty again): in America everything comes together, tree and channel, root and rhizome. There is no universal capitalism, there is no capitalism in itself-, capitalism is at the crossroads of all kinds of formations, it is neocapitalism by nature. It invents its eastern face and western face, and reshapes them both-all for the worst. At the same time, we are on the wrong track with all these geographical distributions. An impasse. So much the better. If it is a question of showing that rhizomes also have their own, even more rigid, despotism and hierarchy, then fine and good: for there is no dualism, no ontological dualism between here and there, no axiological dualism between good and bad, no blend or American synthesis. There are knots of arborescence in rhizomes, and rhizomatic offshoots in roots. Moreover, there are despotic formations of immanence and channelization specific to rhizomes, just as there are anarchic deformations in the transcendent system of trees, aerial roots, and subterranean stems. The important point is that the root-tree and canal-rhizome are not two opposed models: the first operates as a transcendent model and tracing, even if it engenders its own escapes; the second operates as an immanent process that overturns the model and outlines a map, even if it constitutes its own hierarchies, even if it gives rise to a despotic channel. It is not a question of this or that place on earth, or of a given moment in history, still less of this or that category of thought. It is a question of a model that is perpetually in construction or collapsing, and of a process that is perpetually prolonging itself, breaking off and starting up again. No, this is not a new or different dualism. The problem of writing: in order to designate something exactly, anexact expressions are utterly unavoidable. Not at all because it is a necessary step, or because one can only advance by approximations: anexactitude is in no way an approximation; on the contrary, it is the exact passage of that which is under way. We invoke one dualism only in order to challenge another. We employ a dualism of models only in order to arrive at a process that challenges all models. Each time, mental correctives are necessary to undo the dualisms we had no wish to construct but through which we pass. Arrive at the magic formula we all seek-PLURALISM = MONISM-via all the dualisms that are


the enemy, an entirely necessary enemy, the furniture we are forever rearranging.

 Let us summarize the principal characteristics of a rhizome: unlike trees or their roots, the rhizome connects any point to any other point, and its traits are not necessarily linked to traits of the same nature; it brings into play very different regimes of signs, and even nonsign states. The rhizome is reducible neither to the One nor the multiple. It is not the One that becomes Two or even directly three, four, five, etc. It is not a multiple derived from the One, or to which One is added (n + 1). It is composed not of units but of dimensions, or rather directions in motion. It has neither beginning nor end, but always a middle (milieu) from which it grows and which it overspills. It constitutes linear multiplicities with n dimensions having neither subject nor object, which can be laid out on a plane of consistency, and from which the One is always subtracted (n - 1). When a multiplicity of this kind changes dimension, it necessarily changes in nature as well, undergoes a metamorphosis. Unlike a structure, which is defined by a set of points and positions, with binary relations between the points and blunivocal relationships between the positions, the rhizome is made only of lines: lines of segmentarity and stratification as its dimensions, and the line of flight or deterritorialization as the maximum dimension after which the multiplicity undergoes metamorphosis, changes in nature. These lines, or lineaments, should not be confused with lineages of the arborescent type, which are merely localizable linkages between points and positions. Unlike the tree, the rhizome is not the object of reproduction: neither external reproduction as image-tree nor internal reproduction as tree-structure. The rhizome is an antigenealogy. It is a short-term memory, or antimemory.The rhizome operates by variation, expansion, conquest, capture, offshoots. Unlike the graphic arts, drawing, or photography, unlike tracings, the rhizome pertains to a map that must be produced, constructed, a map that is always detachable, connectable, reversible, modifiable, and has multiple entryways and exits and its own lines of flight. It is tracings that must be put on the map, not the opposite. In contrast to centered (even polycentric) systems with hierarchical modes of communication and preestablished paths, the rhizome is an acentered, nonhierarchical, nonsignifying system without a General and without an organizing memory or central automaton, defined solely by a circulation of states.What is at question in the rhizome is a relation to sexuality-but also to the animal, the vegetal, the world, politics, the book, things natural and artificial-that is totally different from the arborescent relation: all manner of "becomings."

A plateau is always in the middle, not at the beginning or the end. A rhizome is made of plateaus. Gregory Bateson uses the word "plateau" to


designate something very special: a continuous, self-vibrating region of intensities whose development avoids any orientation toward a culmination point or external end. Bateson cites Balinese culture as an example: mother-child sexual games, and even quarrels among men, undergo this bizarre intensive stabilization. "Some sort of continuing plateau of intensity is substituted for [sexual] climax," war, or a culmination point. It is a regrettable characteristic of the Western mind to relate expressions and actions to exterior or transcendent ends, instead of evaluating them on a plane of consistency on the basis of their intrinsic value.20 For example, a book composed of chapters has culmination and termination points. What takes place in a book composed instead of plateaus that communicate with one another across microfissures, as in a brain? We call a "plateau" any multiplicity connected to other multiplicities by superficial underground stems in such a way as to form or extend a rhizome. We are writing this book as a rhizome. It is composed of plateaus. We have given it a circular form, but only for laughs. Each morning we would wake up, and each of us would ask himself what plateau he was going to tackle, writing five lines here, ten there. We had hallucinatory experiences, we watched lines leave one plateau and proceed to another like columns of tiny ants. We made circles of convergence. Each plateau can be read starting anywhere and can be related to any other plateau. To attain the multiple, one must have a method that effectively constructs it; no typographical cleverness, no lexical agility, no blending or creation of words, no syntactical boldness, can substitute for it. In fact, these are more often than not merely mimetic procedures used to disseminate or disperse a unity that is retained in a different dimension for an image-book. Technonarcissism. Typographical, lexical, or syntactic creations are necessary only when they no longer belong to the form of expression of a hidden unity, becoming themselves dimensions of the multiplicity under consideration; we only know of rare successes in this.21 We ourselves were unable to do it. We just used words that in turn function for us as plateaus. RHIZOMATICS = SCHIZOANALYSIS = STRATOANALYSIS = PRAGMATICS = MICROPOLITics. These words are concepts, but concepts are lines, which is to say, number systems attached to a particular dimension of the multiplicities (strata, molecular chains, lines of flight or rupture, circles of convergence, etc.). Nowhere do we claim for our concepts the title of a science. We are no more familiar with scientificity than we are with ideology; all we know are assemblages. And the only assemblages are machinic assemblages of desire and collective assemblages of enunciation. No signifiance, no subjectification: writing to the nth power (all individuated enunciation remains trapped within the dominant significations, all signifying desire is associated with dominated subjects). An assemblage, in its multiplicity, necessarily acts on semiotic flows,


material flows, and social flows simultaneously (independently of any recapitulation that may be made of it in a scientific or theoretical corpus). There is no longer a tripartite division between a field of reality (the world) and a field of representation (the book) and a field of subjectivity (the author). Rather, an assemblage establishes connections between certain multiplicities drawn from each of these orders, so that a book has no sequel nor the world as its object nor one or several authors as its subject. In short, we think that one cannot write sufficiently in the name of an outside. The outside has no image, no signification, no subjectivity. The book as assemblage with the outside, against the book as image of the world. A rhizomebook, not a dichotomous, pivotal, or fascicular book. Never send down roots, or plant them, however difficult it may be to avoid reverting to the old procedures. "Those things which occur to me, occur to me not from the root up but rather only from somewhere about their middle. Let someone then attempt to seize them, let someone attempt to seize a blade of grass and hold fast to it when it begins to grow only from the middle."22 Why is this so difficult? The question is directly one of perceptual semiotics. It's not easy to see things in the middle, rather than looking down on them from above or up at them from below, or from left to right or right to left: try it, you'll see that everything changes. It's not easy to see the grass in things and in words (similarly, Nietzsche said that an aphorism had to be "ruminated"; never is a plateau separable from the cows that populate it, which are also the clouds in the sky). History is always written from the sedentary point of view and in the name of a unitary State apparatus, at least a possible one, even when the topic is nomads. What is lacking is a Nomadology, the opposite of a history. There are rare successes in this also, for example, on the subject of the Children's Crusades: Marcel Schwob's book multiplies narratives like so many plateaus with variable numbers of dimensions. Then there is Andrzejewski's book, Les portes du paradis (The gates of paradise), composed of a single uninterrupted sentence; a flow of children; a flow of walking with pauses, straggling, and forward rushes; the semiotic flow of the confessions of all the children who go up to the old monk at the head of the procession to make their declarations; a flow of desire and sexuality, each child having left out of love and more or less directly led by the dark posthumous pederastic desire of the count of Vendôme; all this with circles of convergence. What is important is not whether the flows are "One or multiple"-we're past that point: there is a collective assemblage of enunciation, a machinic assemblage of desire, one inside the other and both Plugged into an immense outside that is a multiplicity in any case. A more recent example is Armand Farrachi's book on the Fourth Crusade, La dislocation,in which the sentences space themselves out and disperse, or else


jostle together and coexist, and in which the letters, the typography begin to dance as the crusade grows more delirious.23 These are models of nomadic and rhizomatic writing. Writing weds a war machine and lines of flight, abandoning the strata, segmentarities, sedentarity, the State apparatus. But why is a model still necessary? Aren't these books still "images" of the Crusades? Don't they still retain a unity, in Schwob's case a pivotal unity, in Farrachi's an aborted unity, and in the most beautiful example, Les portes du paradis, the unity of the funereal count? Is there a need for a more profound nomadism than that of the Crusades, a nomadism of true nomads, or of those who no longer even move or imitate anything? The nomadism of those who only assemble (agencent). How can the book find an adequate outside with which to assemble in heterogeneity, rather than a world to reproduce? The cultural book is necessarily a tracing: already a tracing of itself, a tracing of the previous book by the same author, a tracing of other books however different they may be, an endless tracing of established concepts and words, a tracing of the world present, past, and future. Even the anticultural book may still be burdened by too heavy a cultural load: but it will use it actively, for forgetting instead of remembering, for underdevelopment instead of progress toward development, in nomadism rather than sedentarity, to make a map instead of a tracing. RHIZOMATICS = POP ANALYSIS, even if the people have other things to do besides read it, even if the blocks of academic culture or pseudoscientificity in it are still too painful or ponderous. For science would go completely mad if left to its own devices. Look at mathematics: it's not a science, it's a monster slang, it's nomadic. Even in the realm of theory, especially in the realm of theory, any precarious and pragmatic framework is better than tracing concepts, with their breaks and progress changing nothing. Imperceptible rupture, not signifying break. The nomads invented a war machine in opposition to the State apparatus. History has never comprehended nomadism, the book has never comprehended the outside. The State as the model for the book and for thought has a long history: logos, the philosopher-king, the transcendence of the Idea, the interiority of the concept, the republic of minds, the court of reason, the functionaries of thought, man as legislator and subject. The State's pretension to be a world order, and to root man. The war machine's relation to an outside is not another "model"; it is an assemblage that makes thought itself nomadic, and the book a working part in every mobile machine, a stem for a rhizome (Kleist and Kafka against Goethe). Write to the nth power, the n - 1 power, write with slogans: Make rhizomes, not roots, never plant! Don't sow, grow offshoots! Don't be one or multiple, be multiplicities! Run lines, never plot a point! Speed turns the point into a line!24 Be quick, even when standing still! Line of chance, line


of hips, line of flight. Don't bring out the General in you! Don't have just ideas, just have an idea (Godard). Have short-term ideas. Make maps, not photos or drawings. Be the Pink Panther and your loves will be like the wasp and the orchid, the cat and the baboon. As they say about old man river:

He don't plant 'tatos Don't plant cotton Them that plants them is soon forgotten But old man river he just keeps rollin' along

A rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo. The tree is filiation, but the rhizome is alliance, uniquely alliance. The tree imposes the verb "to be" but the fabric of the rhizome is the conjunction, "and ... and ... and..."This conjunction carries enough force to shake and uproot the verb "to be." Where are you going? Where are you coming from? What are you heading for? These are totally useless questions. Making a clean slate, starting or beginning again from ground zero, seeking a beginning or a foundation-all imply a false conception of voyage and movement (a conception that is methodical, pedagogical, initiatory, symbolic ... ). But Kleist, Lenz, and Büchner have another way of traveling and moving: proceeding from the middle, through the middle, coming and going rather than starting and finishing.25 American literature, and already English literature, manifest this rhizomatic direction to an even greater extent; they know how to move between things, establish a logic of the AND, overthrow ontology, do away with foundations, nullify endings and beginnings. They know how to practice pragmatics. The middle is by no means an average; on the contrary, it is where things pick up speed. Between things does not designate a localizable relation going from one thing to the other and back again, but a perpendicular direction, a transversal movement that sweeps one and the other away, a stream without beginning or end that undermines its banks and picks up speed in the middle.

Practice Guide
Now we are renewing the Practice Guide.
It will be a revolution of the Subbody method
from previous Tree system toward real Rhizome!
My long dream come true after 20 years struggle.
Slowly we share it.

Rhizome Conditioning
2 September 2018 

Rhizome Conditioning

1. Sit at a quiet place and listen to subtle Qualia in and around the body. Let legs free and your head is hung by a string from the sky.

2. A part of your body (ex. 5th chest vertebra) is pulled by a string forward and the other vertebras follow it, and backward, too.

3. Various parts of the body are moved in various directions slowly. Find the most comfortable speed and size.

4. Each part of your body is released from the daily role, the head becomes the supporting leg and legs become dancers.

5. Each part of the body is deterritorized from the daily fixed position and starts dancing.

6. It happens beyond the border of self and others, someone’s head becomes your stomach, and your arm becomes someone’s leg.

7. Dance in the between, behind, over, under, near and far.

8. Everyone’s body becomes the Rhizome that is able to connect freely and separate flexible.

9. Each part of the body remembers the double Resonance Qualia; memory, dream, imagination, illusion, the emotion of human relationship according to the special connection with the others.

10. Enjoy the free Life Resonance as the Nomad and Rhizome with taking off the daily human conditions and judgment.

Read more "Sinking into Darkness"






Butosofia begins regular classes

Beginning of the regular classes of butosophy
The Art of being born

In October, in Madrid, we will continue to tour the immense territory of nascent space, generating more vast bodies, cleaner eyes, colorful shadows, movements with sense, lucid dreams, serene lives, scathing languages...
Thanks for sharing...

When: 2-11 October
Where: Espacio En Blanco Madrid

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El Arte de Nacer
-Taller de Danza Butoh

When: 19 - 21 Oct ・

Where: ArTes-SAnAs en Movimiento
Avda de Pulianas 24, Bq1, 18011 Granada, Spain

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