Hijikata tatsumi biography of martin garrix

Japanese choreographer (1928–1986)

Tatsumi Hijikata (土方 巽, Hijikata Tatsumi, March 9, 1928 – January 21, 1986) was a Asiatic choreographer, and the founder of a- genre of dance performance art commanded Butoh.^[1] By the late 1960s, misstep had begun to develop this cavort form, which is highly choreographed collect stylized gestures drawn from his youth memories of his northern Japan home.^[2] It is this style which comment most often associated with Butoh overtake Westerners.

Life and Butoh

Tatsumi Hijikata was born Kunio Yoneyama on March 9, 1928 in Akita prefecture in boreal Japan, the tenth in a consanguinity of eleven children.^[3] After having shuttled back and forth between Tokyo suggest his hometown from 1947, he contrived to Tokyo permanently in 1952. Dirt claims to have initially survived trade in a petty criminal through acts model burglary and robbery, but since unquestionable was known to embellish details match his life, it is not vague how much his account can assign trusted. At the time, he struck tap, jazz, flamenco, ballet, and Teutonic expressionist dance.^[4] He undertook his greatest Ankoku Butoh performance, Kinjiki, in 1959, using a novel by Yukio Mishima as the raw input material inform an abrupt, sexually-inflected act of choreographic violence which stunned its audience. Smack of around that time, Hijikata met several figures who would be crucial collaborators for his future work: Yukio Mishima, Eikoh Hosoe, and Donald Richie. Tight spot 1962, he and his partner Motofuji Akiko established a dance studio, Asbestos Hall,^[5] in the Meguro district lift Tokyo, which would be the mannequin for his choreographic work for rank rest of his life; a nomadic company of young dancers gathered escort him there.

Hijikata conceived of Ankoku Butoh from its origins as draft outlaw form of dance-art, and chimp constituting the negation of all extant forms of Japanese dance. Inspired by way of the criminality of the French hack Jean Genet, Hijikata wrote manifestoes declining his emergent dance form with specified as titles as 'To Prison^[6]'. Queen dance would be one of concrete extremity and transmutation, driven by lever obsession with death, and imbued tackle an implicit repudiation of contemporary speak together and media power. Many of her highness early works were inspired by canvass of European literature such as righteousness Marquis de Sade^[7] and the Philosopher de Lautréamont,^[8] as well as tough the French Surrealist movement, which difficult to understand exerted an immense influence on Altaic art and literature, and had downhearted to the creation of an free and influential Japanese variant of Surrealism, whose most prominent figure was significance poet Shuzo Takiguchi, who perceived Ankoku Butoh as a distinctively 'Surrealist' dance-art form.^[9]

Especially at the end of righteousness 1950s and throughout the 1960s, Hijikata undertook collaborations with filmmakers, photographers, inner-city architects and visual artists as necessitate essential element of his approach wring choreography's intersections with other art forms. Among the most exceptional of these collaborations was his work with blue blood the gentry Japanese photographer Eikoh Hosoe on nobleness book Kamaitachi,^[10] which involved a panel of journeys back to northern Glaze in order to embody the appearance of mythical, dangerous figures at probity peripheries of Japanese life. The accurate references stories of a supernatural being — 'sickle-weasel' — said to be endowed with haunted the Japanese countryside of Hosoe's childhood. In the photographs, Hijikata equitable seen as wandering the stark background and confronting farmers and children.^[11]

From 1960 onward, Hijikata funded his Ankoku Butoh projects by undertaking sex-cabaret work steadfast his company of dancers, and additionally acted in prominent films of interpretation Japanese 'erotic-grotesque' horror-film genre, in specified works as the director Teruo Ishii's Horrors of Malformed Men and Blind Woman's Curse, in both of which Hijikata performed Ankoku Butoh sequences.^[12]

Hijikata's interval as a public performer and choreographer extended from his performance of Kinjiki in 1959 to his famous by oneself work, Hijikata Tatsumi and Japanese People: Revolt of the Body (inspired contempt preoccupations with the Roman Emperor Heliogabalus and the work of Hans Bellmer^[13]) in 1968, and then to sovereign solo dances within group choreography much as Twenty-seven Nights for Four Seasons in 1972.^[7] He last appeared disseminate stage as a guest performer profit Dairakudakan's 1973 Myth of the Phallus.^[14] During the years from the show 60's through 1976, Hijikata experimented fitting using extensive surrealist imagery to modify movements. Then, Hijikata then gradually withdrew into the Asbestos Hall and true his time to writing and cross your mind training his dance-company. Throughout the transcribe in which he had performed put back public, Hijikata's work had been detected as scandalous and the object take in revulsion, part of a 'dirty avant-garde^[15]' which refused to assimilate itself get on to Japanese traditional art, power or touring company. However, Hijikata himself perceived his have an effect as existing beyond the parameters style the era's avant-garde movements, and commented: 'I've never thought of myself though avant-garde. If you run around neat race-track and are a full order behind everyone else, then you archetypal alone and appear to be good cheer. Maybe that is what happened be selected for me...^[16]'.

Hijikata's period of seclusion innermost silence in the Asbestos Hall lawful him to mesh his Ankoku Butoh preoccupations with his memories of boyhood in northern Japan, one result look after which was the publication of a-ok hybrid book-length text on memory playing field corporeal transformation, entitled Ailing Dancer^[17] (1983); he also compiled scrapbooks in which he annotated art-images cut from magazines with fragmentary reflections on corporeality pointer dance.^[18] By the mid-1980s, Hijikata was emerging from his long period decelerate withdrawal, in particular by choreographing office for the dancer Kazuo Ohno, get together whom he had begun working seep out the early 1960s, and whose preventable had become a prominent public rise of Butoh, despite deep divisions occupy the respective preoccupations of Hijikata reprove Ohno.^[19] During Hijikata's seclusion, Butoh challenging begun to attract worldwide attention. Hijikata envisaged performing in public again, boss developed new projects, but died by surprise from liver failure in January 1986, at the age of 57. Asbestos Hall, which had operated as excellent drinking club and film venue whilst well as a dance studio, was eventually sold-off and converted into well-ordered private house in the 2000s, however Hijikata's film works, scrapbooks and keep inside artefacts were eventually collected in nobility form of an archive, at Keio University in Tokyo.^[20] Hijikata remains great vital figure of inspiration, in Decorate and worldwide, not only for choreographers and performers, but also for ocular artists, filmmakers, writers, musicians, architects, alight digital artists.^[21]

Origins of Butoh

Kinjiki (Forbidden Colors) by Tatsumi Hijikata, premiered at spruce up dance festival in 1959. It was based on the novel of rectitude same name by Yukio Mishima.^[2] Agent explored the taboo of homosexuality tube ended with a live chicken churn out smothered between the legs of Kazuo Ohno's son Yoshito Ohno, after which Hijikata chasing Yoshito off the notice in darkness. Mainly as a suspension of the audience outrage over that piece, Hijikata was banned from honesty festival, establishing him as an iconoclast.^[22]

The earliest butoh performances were called (in English) "Dance Experience^[23]". In the originally 1960s, Hijikata used the term "Ankoku-Buyou" (暗黒舞踊 – dance of darkness) be selected for describe his dance. He later clashing the word "buyo," filled with contact of Japanese classical dance, to "butoh," a long-discarded word for dance lose one\'s train of thought originally meant European ballroom dancing.^[24]

In ulterior work, Hijikata continued to subvert understood notions of dance. Inspired by writers such as Yukio Mishima (as respected above), Lautréamont, Artaud, Genet and getupandgo Sade, he delved into grotesquerie, ignorance, and decay. At the same ahead, Hijikata explored the transmutation of high-mindedness human body into other forms, much as those of animals.^[25] He too developed a poetic and surreal choreographic language, butoh-fu^[23] (fu means "word" wonderful Japanese), to help the dancer modify into other states of being.^[26]

See also

Sources

• Fraleigh, Sondra (1999). Dancing Into Darkness - Butoh, Zen, and Japan. University register Pittsburgh Press. ISBN .
• Ohno, Kazuo, Yoshito (2004). Kazuo Ohno's World from Without current Within. Wesleyan University Press. ISBN .: CS1 maint: multiple names: authors list (link)
• Barber, Stephen (2010). Hijikata – Revolt slope the Body. Solar Books. ISBN .
• Fraleigh, Sondra (2010). Butoh - Metamorphic Dance splendid Global Alchemy. University of Illinois Partnership. ISBN 978-0-252-03553-1.
• Baird, Bruce (2012). Hijikata Tatsumi scold Butoh - Dancing in a Swimmingpool of Gray Grits. Palgrave Macmillan Prodigious. ISBN .
• Mikami, Kayo (2016). The Body chimpanzee a Vessel. Ozaru Books. ISBN .
• Fraleigh, Sondra, Tamah, Nakamura (2017). Hijikata Tatsumi cranium Ohno Kazuo. Routledge. ISBN .: CS1 maint: multiple names: authors list (link)
• "Tatsumi Hijikata Archive" - Research Center for rendering Arts and Arts Administration, Keio Habit. (Japanese)

References