20 years of telling stories not told elsewhere: Last Call at the Butoh Foundry — Asbestos Kan Bids Adieu to the Hijikata Studio; Kasai Divine as “Lovely Jean Paul”

By Maura Nguyen Donohue
Copyright 2003, 2018 Maura Nguyen Donohue

TOKYO — Sunday, January 19’s show from Asbestos Kan, the company started by Butoh founder Tatsumi Hijikata, marked the final public performance at the historic Tatsumi Hijikata Memorial Asbestos Dance Studio. Hijikata is considered the creator of Butoh. However, he hadn’t specifically set out to make “Butoh,” per se, when he premiered “Kinjiki (Forbidden Colors)” in 1959. The controversial work was based on Yukio Mishima’s novel of the same name and premiered during a Japan Dance Association showcase for new choreographers. It has since been cited as the first public showing of the performance movement that Hijikata later named Ankoku Butoh, Dance of Darkness. Four decades later, Hijikata’s Ankoku Butoh has become an internationally recognizable form. Tragically, two days after the performance and on the 17th anniversary of Hijikata’s death, the Tokyo District Court auctioned off the birthplace of Japan’s most influential contemporary performance form.

Close to 75 people crammed into the unassuming basement studio (the back of a van parked outside serves as box office and coat check), slowly filling it until the only apparent performance space consisted of a small spot of about 10 square feet in the corner. Agoraphobic response to the crush of the crowd shifted into a growing claustrophobic panic that I was stuck, sitting with my knees pulled up to my chest, without possibility of escape. But these fears were quickly dispelled as a video of abstract, digital bubbles was projected on the back wall, sparse chanting audio drifted through the room, and a kimono-clad woman entered the space. She screamed, the sound of pounding taiko drums followed and “Edo Mandalam” directed by Hironobu Oikawa, began….

(To receive the complete article, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the DI for one year for just $36 by designating your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check. First published exclusively on the DI on February 12, 2003.)

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The DI, Year 1: The Nightclub of his Imagination — Butoh Painting with Kasai

By Asimina Chremos
Copyright 2000, 2017 Asimina Chremos

CHICAGO — I have just returned home from witnessing 57-year-old Butoh artist Akira Kasai, making his Chicago debut at the Dance Center of Columbia College, perform in the nightclub of his imagination. For his piece “Tinctura-2,” the floor of the large black performance space/existential disco was marked with dotted lines of glow tape, sending the eye out and away like a 10-laned highway in space. The lines narrowed towards the back of the space, a simple trick of perspective that added a surprisingly effective illusion of depth. Dressed in black pants, tight black cap, and sleeved tee-shirt, with bleached blond hair and sinewy arms, Kasai reminded me of a Japanese version of Iggy Pop.

To get the rest of the article, first published on March 18, 2000, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Dance Insider Archive of 2,000 exclusive reviews by 150 leading dance critics of performances on five continents from 1998 through 2015. Just designate your PayPal payment in that amount to paulbenitzak@gmail.com , or write us at that address to find out about payment by check. You can also purchase a complete copy of the Archives for just $49 (individuals) or $99 (institutions) Contact Paul at paulbenitzak@gmail.com .