Considering the universe works through resonance, we choose (or what is better: we are chosen by) matching energies. That is to say: when a character, impulse or inspiration come into our open, available, "dead" body, it is because our frequency matches that of the archetype which arises. As always, anything we see, experience or perceive is nothing else than a projection of our soul, seeking to integrate aspects sometimes wandering around our levels of consciousness. In order to be assimilated, those aspects need to be acknowledged, listened to. Even if psychoanalytic therapies have proven to help see those facets, to some, that rational approach could be a double-edged sword. Especially for those of us who gloat over their understanding: following such an analytic path could lead to the exact opposite direction from that which an art such as Butoh proposes to head to.
In this sense, a conscious practice of Butoh should encompass our four bodies: the physical, the emotional, the mental and the spiritual. As for the first one, given that this discipline is intrinsically connected with the body as a means of expression, not much need be said. However, an interesting observation must be made: even if corporeal virtuosity is absolutely astonishing to watch and enjoy, it is not a sine qua non condition to dance. In fact, the way of moving has to do with each artist's identity and the fashion in which they express themselves. Also, if we take into account that the great Kazuo Ohno danced in his wheelchair and until he died at 103 years old, one can say that the bravura that Butoh actually pursues is eminently that of the soul: it is our higher self who is ultimately expressing itself.
In this sense, a conscious practice of Butoh should encompass our four bodies: the physical, the emotional, the mental and the spiritual. As for the first one, given that this discipline is intrinsically connected with the body as a means of expression, not much need be said. However, an interesting observation must be made: even if corporeal virtuosity is absolutely astonishing to watch and enjoy, it is not a sine qua non condition to dance. In fact, the way of moving has to do with each artist's identity and the fashion in which they express themselves. Also, if we take into account that the great Kazuo Ohno danced in his wheelchair and until he died at 103 years old, one can say that the bravura that Butoh actually pursues is eminently that of the soul: it is our higher self who is ultimately expressing itself.
In a unified being, whole, consciousness, it is in fact the higher self who is conducting our lives: we are just passengers. If we want to observe this latter statement through Butoh eyes, I would say that it is our spiritual body that who allows the characters, energies or inspirations enter our empty bodies. A poetic way of expressing this would be: it is our soul, our higher self, who is playing dress-up with the different characters or aspects that make an appearance seeking for an integration.
Regarding the emotional body, as in any other art (and particularly performing), its voice needs to be acknowledged and listened to; as well as explored without judgements. Far from willing to fall into clichés -such as the distorted movements or ugliness as an esthetic guideline and not as a true voice of the soul- that lack of judgement is what makes Butoh unique: the absence of political correctness and search for a standard beauty. When truthfully carried out (avoiding commonplaces and comfort zones in which expressivity is standardised), this lack of judgment can really modify both the performer and the audience in unsuspected ways.
When it comes to the mental body, it should be pointed out that the solution is not to "cut off our heads' while performing. On the contrary: when used correctly, our minds can be great allies for us. In this sense, even if having a purely physical, emotional, spiritual, sensual or instinctive experience (some call it "trance state") can be of great pleasure, having an alert mind can help us take note of and register our movements, energies, characters or patterns while we are dancing. This could be useful not only for the creative process of new pieces, but also for the acknowledgement of the traits of our identity.
As in every aspect of life, each person is "stronger" in some of these bodies and "weaker" in others. Note that the use of " " is fully conscious, given that the management of advantages can be more difficult and trickier than the encouragement or strengthening of disadvantages. Of course, a wise and appropriate use of our strengths can be of inestimable value, but it might as well require even more training -or, in fact, taming- than our weaknesses. For instance, in my personal case, the mental body is one of my strongest; which -balanced- allows me to spot characters, movements and emotions as I am dancing. However, it has taken -and still does-a lot of work to domesticate the beast and not allow my rationality invade my emotions -and even my body!- while performing. For others, for instance, wonderful virtuous dancers in the physical, their extreme concern about the way they move may lead them to overlook on or underestimate their emotions, becoming eminently technical, like perfect machines. For those who are stronger in their emotional bodies, the possible "trap" might be that of getting caught in their experiencing; that is: getting stunned by the moment, the sort of trance state without later recollection or use of the body at its fullest. At the same time, the disbalance of the spiritual body might lead to a meditative state which secludes the person within him or herself, turning the dance into an isolated practice with no artistic value.
In conclusion, in Butoh as in life, the training, use and balance of our four bodies is essential for our development and growth. Therefore, creating a synergy among them all will allow us to become unified beings and thus performers. Alluding to Kazuo Ohno's metaphor: to become the flower, not to act like the flower. This act of modesty, in which we set our egos aside and face our being as a whole, acknowledging our vulnerabilities, will be key for us to express ourselves truthfully, through the combined effort of all the constituents of our being.
Links:
Sandra Rizzo Art
Regarding the emotional body, as in any other art (and particularly performing), its voice needs to be acknowledged and listened to; as well as explored without judgements. Far from willing to fall into clichés -such as the distorted movements or ugliness as an esthetic guideline and not as a true voice of the soul- that lack of judgement is what makes Butoh unique: the absence of political correctness and search for a standard beauty. When truthfully carried out (avoiding commonplaces and comfort zones in which expressivity is standardised), this lack of judgment can really modify both the performer and the audience in unsuspected ways.
When it comes to the mental body, it should be pointed out that the solution is not to "cut off our heads' while performing. On the contrary: when used correctly, our minds can be great allies for us. In this sense, even if having a purely physical, emotional, spiritual, sensual or instinctive experience (some call it "trance state") can be of great pleasure, having an alert mind can help us take note of and register our movements, energies, characters or patterns while we are dancing. This could be useful not only for the creative process of new pieces, but also for the acknowledgement of the traits of our identity.
As in every aspect of life, each person is "stronger" in some of these bodies and "weaker" in others. Note that the use of " " is fully conscious, given that the management of advantages can be more difficult and trickier than the encouragement or strengthening of disadvantages. Of course, a wise and appropriate use of our strengths can be of inestimable value, but it might as well require even more training -or, in fact, taming- than our weaknesses. For instance, in my personal case, the mental body is one of my strongest; which -balanced- allows me to spot characters, movements and emotions as I am dancing. However, it has taken -and still does-a lot of work to domesticate the beast and not allow my rationality invade my emotions -and even my body!- while performing. For others, for instance, wonderful virtuous dancers in the physical, their extreme concern about the way they move may lead them to overlook on or underestimate their emotions, becoming eminently technical, like perfect machines. For those who are stronger in their emotional bodies, the possible "trap" might be that of getting caught in their experiencing; that is: getting stunned by the moment, the sort of trance state without later recollection or use of the body at its fullest. At the same time, the disbalance of the spiritual body might lead to a meditative state which secludes the person within him or herself, turning the dance into an isolated practice with no artistic value.
In conclusion, in Butoh as in life, the training, use and balance of our four bodies is essential for our development and growth. Therefore, creating a synergy among them all will allow us to become unified beings and thus performers. Alluding to Kazuo Ohno's metaphor: to become the flower, not to act like the flower. This act of modesty, in which we set our egos aside and face our being as a whole, acknowledging our vulnerabilities, will be key for us to express ourselves truthfully, through the combined effort of all the constituents of our being.
Links:
Sandra Rizzo Art