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Sinking into the darkness of the body
 
山崎、よみがえれ! リゾーム・リー (岡龍二)      
    Yamazaki, Reborn! 2019 | Rhizome Lee 

 28. Becoming Shisha which transforms infinitely                     

Description: H210

              Hijikata's solo of "Quiet House" is performed by the Weakened body throughout the whole time. It is not only the well-known 'desperately standing corpse (dead body)' as people regard as the basic butoh body which moves slowly, but it is "The Shisha" which transforms quietly yet infinitely.
The following words which Hijikata wrote by his blood with the title of "Important" are neither understood nor taken over by a few students of him. I have never seen any butoh dancer who became 'Shisha' except for Hijikata.

Important

“Shisha transform their shapes quietly yet infinitely. It is not rare that they borrow the shapes of things on the earth with unexpected nonchalance.”

It is necessary to become 'Shisha' what we dig the darkness of body infinitely, with experiencing all conditions of Life between Hell and Heaven. 'Shisha' does not belong in modern concept, but belong in the animistic world which human has experienced for seven millions of years history. In the ancient animism world, everything is transforming infinitely. In the ancient Buddhism world, it is regarded there are three thousand worlds, and Shisha travels all of those different worlds.
In the ancient Japanese animism world, also eight million kinds of spirits are living in the non-dual and multi-dimensional worlds.
             

How is it able to become Shisha? We need to take off narrow modern humanistic intelligence and to become Life. Please start to see the pictures above, and feel subtle shivering of your Life. Not receiving them as the information, but accept them with subtle Life resonance; with prototypical emotions and subtle inner motions as shivering, fear, or awe and so on.

The butoh of Life starts from those of primitive response of Life.

To get it or not will be your turning point to start digging into the tunnels toward the Abyss of Life. In that realm of Abyss (bottomless depth), we will be aware of the oneness of the Shisha and the Red God.

It is 'the Hidden logic world before the division of the Self and Others' which Hijikata demanded all butoh dancers to enter, as the fetus and the womb. The Shisha and the Red God are the metaphors of non-dual and multi-dimensional resonance of Life.

Our daily body and mind could not resonate with the infinite world of Life and Death including all kinds of miseries, disasters, wars, mutations of bodies, handicapped, and so on. But when we take off the illusion of 'the Human', we can recover the infinite resonativity (= resonance ability) with all of them as Life.

The practice of butoh is just to travel infinitely among these behind worlds with vaporizing and materializing technique until you meet your own Abyss where the reason why you need to dance is hidden.


 


 





 
 
 
 Hijikata Tatsumi Hosotan part 2 (197Hijikata Tatsumi Hosotan part 2 (1972) 土方巽 疱瘡譚 Part 2 癩12) 土方巽 疱瘡譚 Part 2 癩1

         

Description: H203

21. The necessity of the Weakened body

             
The weakened body was the necessity to dance with his dead sister and become oneness with her. By the previous Butoh style of Ankoku Butoh and the legendary solo performance of “Revolt of the body (Nikutai no hanran)” (1968), he could not resonate with his dead sister. He breeds his dead sister in his darkness of body and spent long years with her.

              One night, his dead sister visited his dream and whispered to him “Kunio chan (Kunio is his real name), you could perform dynamically and expressed yourself heroically. But, please once stop it, and we could be oneness.” 

He invented a weakened body by throwing away all gross dynamic dance techniques and became like a near-death body that lost all vitality of a healthy body. “Hoso-tan” (1972) and many pieces he created with the weakened body till “Quiet House” (1974). After “Quiet House” he focused on choreographs work to his students, Yoko Ashikawa and so on till 1976 when he had to quit the activities based on his studio “Asbest-kan” by the resident’s movement against his activity.  

He wrote a practice Butoh-fu“Bugs walk” in his late age (1980’s) to share the weakened body with young students. We can learn how to transform into the weakened body gradually through the” Bugs Walk".

 


             

              Bugs walk

 

1. A bug is crawling on the back of your right hand,
2. A second bug is creeping down from your left side of your neck to your back,
3. A third bug is wriggling up along your inner thigh,
4. A fourth bug is squirming down from your left shoulder to your chest,
5. A fifth bug …   Ah, where is it?
6. You're so itchy, here and there. You can’t standstill. 
You're pushed away from here by itchiness.
7. Itchiness under your chin, itchiness at the base of your ears, itchiness around your elbows, itchiness around your kneecaps, itchiness around your waist,   Ah! There're five-hundred of them!
8. Around your eyes, around your mouth, in your ears, between your fingers, in every mucous membrane.    Five thousand bugs
9. A bug on every hair,
10. A bug in every pore,
11. From there thirty thousand bugs are crawling down into your guts and eating them voraciously,
12. Having eaten them up the bugs are coming out of your body through the pores,
Now they are eating the space around your body,
13. Now the bugs are full of outer space and eaten by another kind of bugs,
14. The condition is being eaten up by another-another kind of bugs.
15. (Half a billion bugs on a tree. The inside is all gone. )
16. It is your end. (The will has transformed just the bug or the sense of the material.).  

 

With following the Jo-Ha-Kyu of the Bugs walk, we can progress the weakness until the weakest condition of being. But, the weakened body is not only a physical technique, but it demands a radical revolution about the ego, self, and Life. 

It is the process to take off the gross stereotypes of the "Human".It is not easy, because we are educated and trained as a human for a long time. And all of us feel that to be human is our advantage and pride.

When we are bound by the pride, we forget the resonance among every Life. And the pride shifts to conceit and vanity against the other Life.

"The human is the king on the planet, we can decide everything on the earth freely." This is the biggest common illusion in which our “human” is bound. Our ego and self are not top of the world and the Universe. Far from it! The illusion is just a disturbance against life resonance.

We need to realize the necessity to be a weakened body to recover the Life Resonance among all lives. To deepen the study for the weakened body, we need to listen to the darkness of the body, and find one's own necessity to take off the human and transform into the weakened body. It depends on the depth of your inner work. Nobody is able to teach the necessity of a weakened body. Just continue to listen to the darkness of body and Life carefully every moment. Someday your Life will let you be aware of it.


 





Sinking into the darkness of the body
 
Hosotan Tatsumi Hijikata 疱瘡譚 土方巽 




7. Weakened Body

              Weakened Body is the last stage of the butoh-body of Tatsumi Hijikata.In 1968, he performed "Revolt of the Body (Nikutai no Hanran)" as his solo Butoh dance. He performed with changing so many aggressive dance styles. He attacked the audience with surprising at, with changing from a dance style to another style; finally, he flied away in the space with hanged by strings. Some of his students imitated this performing style.

But he stopped this style at all after this year, and he shifted into the investigation in the weakened body. it was the last stage of his creation of Butoh. He performed this weakened body at the early half of the 1970s in several Butoh pieces as his solo, and 1973 he stopped to perform by himself at the last performance; "The Quiet House".
              He could not teach this weakened body to any students at all. Of course, he had tried to teach at least to his best student; Yoko Ashikawa, but at that time she was so young that she could not understand. She confessed a long time after that she could not have an interest in the death at that time at all, though the weakened body was swaying between death and life. Then the weakened body has been disappeared from this world.
              There were only two videos of his weakened body performance because he hated shooting by a movie camera. He performed a lot, but only two cameramen were allowed to shoot it. One of them was 'Hoso-tan' shot by Ohuchida Kenya. Another one was 'Summer Storm' shot by Toru Nakajima.
              We can learn what has weakened the body only through watching these videos and reading his few words about a weakened body. I had some film meetings to watch Hijikata's movie of 'Hoso-tan' in Kyoto, 1990's. I continued to investigate in the weakened body through these few films and his words... But the weakened body had so deep secret. I could not get it for long years. After moving to Himalaya, slowly I understand it steps by step.
              This year I could have a chance to teach the weakened body method at the Subbody Butoh School because some earnest long term students hope to learn it strongly. Now I can open the method of the weakened body to the world through this website. When we solved an important secret, we have to open it to the world immediately. This is the principle of creation. We must not hide it as private property. If someone did so, it means he has not created the real new thing at all.

             

                Transformation for a weakened body


At first, learn these general methods until you get what is the swaying between death and life through the body, not by the head. One-step and next step, step down to the dead land. When you continue this practice for long years, one day your darkness of body starts dreaming of a weakened body. Just wait for the timing without thinking about a weakened body. It is a long process. Hijikata needed for ten years to get it, he wore his dead sister's clothes; Japanese kimono in every morning with keeping long hair like a woman and tried to become her every day.

Swaying between this world and another unknown dimension
Each part of the body sways into different directions with different timings. This is the basis of physical technique to transform into a weakened body. You transform into a thin membrane swaying between nowhere world and nowhere dimension. Try to control every part of your body to sway into every direction with different timing with very subtle various Qualia.

You have twenty-seven small bones in your foot. Each bone sway, twist and shake into different dimensions. The sensations transfer to other parts of your body with passing through unknown tunnels in your darkness of body. In each part of your body, different kinds of the sway of Qualia seem to appear and disappear. You catch a strange feeling which is completely different from daily living body passing through your body.
Every subtle event appears and disappears immediately. And change Qualia in the darkness of the body. Then nobody can catch what is happening by conscious watching.An unexpected part of the body is moved by an unknown power, the whole body has to change position and place without using normal human walking way. Whole-body transforms from nowhere world to nowhere dimension, fade out and fade in with becoming a quiet dead body.

Find your own hidden weakened body

After practice the general method enough, one day your subbody gives you subtle signs that the subbody wants to come out with your own the most miserable Qualia of life.

The most miserable or ugliest Qualia of life open the mouth. They were not allowed to live in this world, then they hided themselves into a tiny hole of the darkness of your body. They, who are dying or almost dead already, come out and transform into strange creatures like monsters or goblins.

They are called 'not-me', 'dissociated ego',' lower characters', 'unconsciousness', 'trauma', inferiority complex', 'shadow' and so on, by different psychologist. Also, they are bound by so many kinds of archetypes that C.G. Jung investigated. Release them through your weakest subbody movement, just follow them and amplify them with riding by your whole body/mind/brain. They may want to possess your body, just let them freely, 'Please use my body freely as you like.When your consciousness becomes the weakest level, they can possess your body freely. These phenomena are just life resonance. No need to afraid.

Hide these processes from others. If some eyes catch the scene, the transformation becomes different. In the investigation process, you need to guard the whole process against others including your life partner. You need to be completely alone.



Sinking into the darkness of the body
 
A Girl / Tatsumi Hijikata 


Description: H204

22. What is "The Red God”?

              We started the study of "Quiet House" which is a Butoh-fuof Hijikata's last solo. It is a non-dual and multi-dimensional resonance world that has no direction, no orientation; just there is Life resonance of Qualia.
We need to stop daily thinking to travel this special and so strange world.
We could research in only the first seven sentences for one week as the following;

               The Red God

A girl who plans an evil deed in the rain

Keep Floor Face throughout the whole time

Obsess with Salmon Face compulsively

Stuffed spring

Nest of Forest, Nest of Eyes, a moth placed on a wooden board

A vaporized candy maker or the Christ drawn as a Samurai warrior

“The Red God”

              The title of the first chapter "The Red God" is the deepest mystery. I needed almost ten years to get this. All students needed one month's experience to prepare to get what is the "Red God", with experiencing all edge Qualia including the Fukushima disaster shock.
              When a big disaster attacks us, we lose all consensus reality; what happens, who I am, where I am, what Life is, and so on, and we experience the prototype emotion of fear, shivering, and hardening as Life between Death and Life. Students have experienced deep discombobulation (total confusion) which has lost all reality as a daily body of humans during the first month through various hard travels in the darkness of the body.

              Then finally, we really got the Qualia of discombobulation.
The Red God means just the Discombobulation; which we don't know who moves us, why I dance, what I create, and so on.
The Red God is a metaphor for the discombobulation which Hijikata had experienced during his lifelong.
              He just followed the Qualia of his Life which someone moved him.
He named this 'someone" as 'The Red God.It is a necessary mantra which he threw out all subjects which are bound the common illusion, ego, intelligence, dualistic judgment.
              When we are bound by those of modern intelligent limit we cannot contact the real Qualia of Life as subtle primitive resonance; bird's fear, shivering, shrink, collapsed, boxed and so on.
              The Red God is a manifestation to throw away all modern conceptual binds such as 'theme', 'purpose', 'meaning', ' construction' and so on. He just followed non-dual Qualia of Life.

A girl who plans an evil deed in the rain

Keep Floor Face throughout the whole time

Obsess with Salmon Face compulsively

              Hijikata was born as the last son after five sisters and five brothers. He loved a sister. But when he was seven years old, she disappeared from his home, and she had to move Kobe. Why my sister has left me? Hijikata could not understand. He did a long journey from Akita to Kobe alone to meet her during the summer vacation of the elementary school. He received very strange impressions because the sister wore a gorgeous Japanese dress 'Kimono' with heavy makeup. But at that time he couldn't understand what happened to her.
              After some year, she was sent back as a dead. This became his biggest trauma and deepest mystery. When he grew up adult after The Second World War ended, he realized everything.
              For the world war, Japan's military nation-state performed a secret activity of 'Ianhu (national prostitute)' which nation-state collected many girls from local places of Japan and Korea for giving their body for filling Japanese soldier’s sexual desire. Many girls were sent to various places in Japan, China, Philippine. Vietnam and so on.
              Hijikata's favorite sister was one of them and lost life by a venereal disease. Hijikata imagined so many times what happened on her body and mind. He dreamed of her dream infinite times until she and he became oneness. Hijikata needed for almost forty years to change his trauma to the last creation. All his hard inner experiences crystallized as the first sentence (see the picture above).

A girl who plans an evil deed in the rain
In the beginning of "A Girl" which he performed one year before the "Quiet House", the outline of his body transformed from a girl to an animal. The plan of the evil deed changed the outline. The girl tried to hide the plan of an evil deed by keeping quiet face.

Keep Floor Face throughout the whole time
But, unavoidably, the intention appears on her body and face.

Obsess with Salmon Face compulsively
Salmon has so aggressive face like an eagle because it eats other fishes.
Not only the salmon face but also many hidden tendencies come out one after the other.

              With learning this butoh score, we need to find our own Qualia instead of Hijikata's own Qualia. Then we can shift this Butoh-fuas a treasure box for creation. This Butoh-fu is a will for next-generation how to dig each own deep Qualia in the darkness of each body.
              Students research in own darkness of body and found many hidden characters, not-me, shadow, inferior personality, dissociated identities, and so on. Most of them are so strange or ugly, but even ugliness, if it could find the best timing to appear in the whole Jo-ha-Kyu, it turns to the novel Beauty. This is the Jo-ha-Kyu magic of butoh.





23.
A girl who plans evil deeds in the rain


 A girl who plans evil deeds in the rain
             
Hijikata wrote this sentence at the first line for his last Butoh-fu of "Solo in the Quiet house" (1973).
Who is this girl? Where did she come from?
              Hijikata was born as the last son. He had five elder brothers and five elder sisters. He loved a sister who was taken a picture with him when he entered an elementary school (See above photo was taken around 1935)
She had to leave him to work in the far-off town from her home village soon. But Hijikata had traveled to meet her by long train after entering elementary school. He faced his sister who dressed with so loudly clothes and gaudy make up.

Why my sister had to gone?
Why did she dress such colorful clothes?
What did she do at the far-off town?

              Young Hijikata had to ask himself many times in the dream around the mystery of his sister. But he as a child could not solve the mystery, though when he became an adult, it was so easy to understand the cruel circumstances.
              Later he talked about this, "In that age when Japanese nation-state fight against the world, our northern area had to supply three things for the nation-state. The first one was rice, the second was the horse, and the third was women."
It was a big tide which no one could neither resist nor escape at that age.
              Hijikata spends time alone with dressed his dead sister's dress (Japanese Kimono) and with long hair for long years in his forties.
He told, “I breed a dead sister in my darkness of body. We live together. I learned how to comb long hair, how to behave with the lady's dress. I learn everything about her in every morning.
              There are so complex relationships, more than that she falls down in the darkness, I also fall down. When she stands up, I fall down. When I devote to the creation of a butoh piece, she gives me the advice to stop all expressions. Dead sister is my real teacher of butoh. We need to lesson hard with the dead constantly. We need to live together with the dead."

Hijikata spent a long time with his dead sister. it continued from his childhood to forties. Hijikata might enter in her dream world so many times.

"What dream did you dream? Your whole life was as if in the hard rain. Many men's bodies had passed through your body. Nothing must have remained in your dream. You must plane only evil deeds in your dreams. You needed to take back which you have lost in your life. Let me know the details of your nightmares.

In these long processes, his dead sister's Qualia and his body transformed into oneness. It fermented, decayed, and crystallized into a butoh piece in the depth of the darkness of the body.
He wrote the first sentence at his last butoh score.


A girl who plans evil deeds in the rain.
             

And he transformed his sister, she starts the dance. Her outline transformed into an animal shape. She who plans so many evil deeds, and transformed into one after another.

Hijikata's Butoh-fu had more than three hundred lines with so complicated and precise choreographies. But his dead sister could accept all of them. The evil deed was an extreme creation of butoh. It was a completion of the weakened body butoh method.

He could be burned out and released from the bind by the anima as his dead sister. After this performance, he stopped dancing and concentrated in choreography with his company. He entered into another process of creation. He continued to investigate n the next stage of weakened body technique.

He wrote in his notebook at his fifties, we need the butoh which is called the name of life. We need to enter the non-dual world before the self and the others have separated. Butoh has to sink down into the hidden logic dimension where we associate with the spirits without any medium. These images were his last investigation for butoh which is called the name of life.
But he had to stop his investigation before it comes out with a form.

Now is the time which we continue the investigation toward the next stage of butoh.

What is the Butoh of Life?
Investigate in it together
.

 
 Movie "After you died" Trailar

Movie "After you died" Trailar

Fifty years ago, an 18-year-old student, Hiroaki Yamazaki, died in the Vietnamese people's independence struggle against the American colonial rule in Vietnam and the youth's anti-Vietnamese struggle to support it. This movie is a record of dialogue with Yamazaki, the inner dead of contemporary people who have been asking the meaning of death for more than 50 years.

 February 22, 2021

 Published a collection of testimonies of the times, "After You Died"!

 The movie "After You Died" which is about my old friend Hiroaki Yamazaki who died on 8th October, 1967 in the movement of Anti-Vietnam War, will soon be screened in Japan and worldwide. Along with that,  interviews with eight friends related to Hiroaki Yamazaki, including myself, that were held in the movie will be published as a book. Recently, the movie director, Mr. Daishima, sent me a manuscript for proofreading by the author. I will post it here. In the movie and book, I appear under the name Ryuji Oka at the time.

 ―――――――――――――

 When I saw the face reflected in the rear-view mirror of the police car, it was a possessed face.

"This is me at 20 years old."

 Ryuji Oka

(Same grade of Otemae High School)

 The thirteenth shot was Ryuji Oka. I wanted to shoot all the core members of the "Marxism Study Group" in which Mr. Hiroaki Yamazaki participated when he was in Otemae High School. Masato Iwawaki, Mikirō Sasaki, Shuji Kitamoto, Chieko Mukai, Masahiro Mita, Jun Kurose, and Ryuji Oka. Mr. Oka presides over the Butoh School, "Subbody Resonance Butoh" in Dharamsala, northern India.

I and photographer Kato flew to New Delhi in mid-April 2019. It took more time to travel to Dharamsala, than to New Delhi. Swaying on a late-night bus through a steep mountainous area for 10 hours, we arrived at the Dharamsala bus stop in the morning with almost no sleep. The exiled Tibetan town where his Dalai Lama 14th lives had a different "spirit" than in Japan.

Mr. Oka's butoh school and home building overlooking the Himalayas reminded me of "Howl's Moving Castle." And Mr. Oka himself was a mysterious and attractive person like Calcifer, the demon of fire that moves the castle. Before filming Mr. Oka, I heard episodes about Mr. Oka from several high school classmates. It was all a "poor story".

"He couldn't pay the exam fee of the exam at Kyoto University, so we supported him with all the friends," or "We got on the train (free ride) and were caught by a station employee." After his father disappeared, his mother raised three boys with one woman. Mr. Oka was his eldest son.

In the manuscript published in "Asahi Graph" in 1969, Mr. Oka describes Mr. Yamazaki in high school as follows.

The day after the demonstration, we met by chance in front of the window of the student department who went to receive the scholarship, and while showing each other's leg scratches and bruises kicked by the riot police, “Yesterday was especially terrible!" We started talking.

I sympathized with him, who began to talk about the motives of the fight while looking at the three thousand-yen bills that he had just received, saying, "I wonder because I'm poor."

Mr. Oka still sympathizes with Mr. Yamazaki and keeps dancing with remembers "Memory of Hiroaki Yamazaki",

 Read the full text

 The interview with Mr. Oka began with a visit to a butoh school in the foothills of the Himalayas in India.

 Conversation with Yamazaki for over 50 years

 Yamazaki unconsciously gave me a technique called "Rhizomeing," in which a small part of the body undergoes an invisible transformation and spreads to the whole body before you know it. This kind of gradual transformation suddenly came to my body 20 years ago.

Today, I guided the class where I wanted to give back to the students a gift that Yamazaki gave me and share it with everyone. It was a little scary at first, the feeling that something different from myself was stirring inside me. In the past, people were afraid of "Possession," but now I think it's the "Qualia of Life Resonance". In my mind and body, the memory of Yamazaki has lasted for 50 years.

From the time I graduated the school until I turned 40, I didn't go back to Kyoto for 20 years. I was over 40, I guess. My children were grown, and I wondered what I should do when I was on my own. When I thought about it, I decided to try butoh. At that time, Butoh workshops were only available in Kyoto.

 Yamazaki came down to my body.

 So I moved to Kyoto. I decided to participate in various workshops and rented a house in a place called Jodoji near Kyoto University.

I moved there. But from the very first night, I had nightmares every night like evil spirits of mountains and rivers, and I couldn't sleep. I was exhausted. I thought that having nightmares was a form of life resonance, and that my forgotten qualia were coming out in the form of dreams. I was able to accept it that way, so I was not afraid.

This is because my grandmother was a shaman, a kind of miko-yose shaman in the town of Wakayama. She always guarded, cleaned and worshiped the Jizo statues in the town. Whenever people from the town would come and say, "I would like to see my dead grandpa," she would do something like the possesion. When I was four or five years old, my grandmother and I would go to other people's houses. build altars, burn incense, and play gongs and drums. And all of a sudden she would say something like, "You bullied me!" Then the family would cry out, "Grandpa, I'm sorry. I'm sorry!"

The grandmother knows all the struggles in the house, such as the wife and mother-in-law, or the wife and grandfather. She knows all the stragglers in the house, because she protects the Jizo. That's where people come to talk about their problems. As a child, I used to wonder what was going on there.

When I was around the age of 21 or 22, I went to see the first performance of Hijikata-san's Butoh with his theater "Hangidaitohkan" at the Western Auditorium of Kyoto University with my wife, who was pregnant the first son. That's right. This was when I had already quit school and started working for my children.

I had known about Hijikata since I was in high school. His photo book "Kamaitachi" was so popular that it was piled up in bookstores. I couldn't buy it because I didn't have any money, but I thought, "There's a great guy out there. I was familiar with Hijikata's world from a young age, and when he came to Kyoto University to perform at the Seibu Auditorium had a capacity of about 1,000 people, but 2,000 people showed up. Two-thirds of the audience was seated on the stage. so the performance was so condensed that there was no room for dancing.

 Butoh can resonate with disabled people!

 It was a deeply exciting performance. I remember that they put door boards under the floor and on the walls, and the butoh dancers who had been hiding under the boards came out with "Minamata's Hand" that was mutated by the pollution hit my soul very clearly. We knew that Minamata disease had already started a long time ago, but we thought that the anti-Vietnamese war and the movement against the Security Treaty were more urgent issues, so we said we would come as soon as this was over. However, when I saw Hijikata-san's work, I realized that Butoh could resonate with the people of Minamata and people with disabilities in this way. I was so influenced that I wanted to become a butoh dancer right away. I was dancing on my way home.

My wife, who was watching me, said, "You can't dance yet. You have to raise your children." So I worked as a copywriter for 25 years.  But after my son has grown up, we divorced, and I'm alone.

Once I was alone, I had no idea what to do with my life.

 I drank all the time, gained a lot of weight, and got angina, gout, and other scary diseases. I thought I was going to die if I didn't do something, so I started swimming, and then I started triathlons with my friends, and this time I just kept working out. I was like an idiot. I didn't know what to do. What can I do with this empty body?

Fortunately, my body still had the strength of a person in his twenties, so I decided to try dancing. I was 43 or 44 when I finally decided to become a butoh dancer. Mr. Hijikata had already passed away, but Mr. Ohno (Kazuo) was beginning to take his place in the limelight. Of course, I went to see the show many times, but it touched my heart even though his body was old and weakened.

I also created a network called the Dancing Commune. It had about 200 choreographer and dancer friends all over the world. 1998, through them, I started dancing in Thailand, India, France, Spain, Hungary and many other places. I couldn't stop. Even though I had only been dancing for a few years as an amateur, I couldn't stop dancing. I spent three or four years dancing here and there, traveling by train and holding workshops.

One day, I realized that I was exhausted, if I continued in adrenaline mode, I would die. So I started looking for a new place to live.

 Moving to the Himalayas, where there is nothing.

 I researched many places in the world. The square in Venezuela was nice, the one in Thailand beach was nice. One of the places I was thinking about was Dharamsala. There's nothing here anymore. Nothing but mountains. Food is very poor. It's far from the sea.

I grew up in Wakayama, so fish is my favorite food, but since I couldn't get any fish, my stomach had to put up with it. However, the people here are very nice. After the Dalai Lama received the Nobel (Peace) Prize, there were many interesting people from all over the world. If you put up a little flyer on the street, many people would come to participate in the workshops. I thought, "I can make a go of it here"

That was around 2001. I had been looking for a place for about a year, and I signed a 30-year land lease, which cost about 6 lakhs in Indian money.

What motivated me to leave Japan was the fact that the information in Japan is very noisy and the speed is very fast. I don't have time to listen to it anymore. So the next place I would like to live would be an empty place where I can listen to the darkness of my body. I decided on this place because it was quiet and a good place for people to gather.

 

(continuing)

Subbody Resonance Butoh
Himalaya 2021


Dear Dancing friends

 

How is your dancing spirit? Is it still alive?

I guess everybody is facing hardship.

Recently, fortunately, it is calming down in India and Himachal Pradesh a little bit.

We don’t know what will happen next, the third wave will come or won’t, nobody knows.

We decide to resume regular Butoh course in this chance as the following.

Please activate your dancing spirit and dance together in this opportunity at Himalaya.

 

Subbody Resonance Butoh Course

 

When: [Spring semester] 8th March - 28th May,2021

[Summer semester] 7th June – 28th August,

[Autumn semester] 6th September – 26th November

[Winter semester] 6th December – 25th February 2022

Monday – Friday

10:00-17:00

Duration: One day, One week, One month, One semester and One year course are available.

Where: Life Resonance Art center

Jogiwara village, Macleodganj, Dharamsala, Himachal Pradesh, India

Hope to see you soon!

Life Resonance Art Center

 

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subbody[at]gmail.com

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