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Methods of Performer Training in Hijikata Tatsumi’S Butō Dance

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Methods of Performer Training in Hijikata Tatsumi’S Butō Dance BECOMING NOTHING TO BECOME SOMETHING: METHODS OF PERFORMER TRAINING IN HIJIKATA TATSUMI’S BUTŌ DANCE A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Tanya Calamoneri May 2012 Examining Committee Members: Dr. Luke Kahlich, Professor, Department of Dance Dr. Kariamu Welsh, Professor, Department of Dance Dr. Shigenori Nagatomo, Professor, Department of Religion Dr. Kimmika Williams-Witherspoon, Associate Professor, Department of Theater © Copyright 2012 by Tanya Calamoneri All Rights Reserved € ii ABSTRACT This study investigates performer training in ankoku butō dance, focusing specifically on the methods of Japanese avant-garde artist Hijikata Tatsumi, who is considered the co-founder and intellectual force behind this form. The goal of this study is to articulate the butō dancer’s preparation and practice under his direction. Clarifying Hijikata’s embodied philosophy offers valuable scholarship to the ongoing butō studies dialogue, and further, will be useful in applying butō methods to other modes of performer training. Ultimately, my plan is to use the findings of this study in combination with research in other body-based performance training techniques to articulate the pathway by which a performer becomes “empty,” or “nothing,” and what that state makes possible in performance. In an effort to investigate the historically-situated and culturally-specific perspective of the body that informed the development of ankoku butō dance, I am employing frameworks provided by Japanese scholars who figure prominently in the zeitgeist of 1950s and 1960s Japan. Among them are Nishida Kitarō, founder of the Kyoto School, noted for introducing and developing phenomenology in Japan, and Yuasa Yasuo, noted particularly for his study of ki energy. Both thinkers address the body from an experiential perspective, and explore the development of consciousness through bodily sensation. My research draws from personal interviews I conducted with Hijikata’s dancers, as well as essays, performance videos and films, and Hijikata’s choreographic notebooks. I also track my own embodied understanding of butō, through practicing with these various teachers and using butō methods to teach and create performance work. iii ACKNOWLEDGMENTS This quest to understand butō training began the first day of rehearsal with Shinichi Koga in 2000 for inkBoat’s Cockroach, and I am forever grateful for the introduction. Thank you to the many butō teachers with whom I have studied during the past decade, and especially to those who were willing to be interview subjects for this research, including Kasai Akira, Matsuoka Dai, Mikami Kayo, Murobushi Ko, Nakajima Natsu, Ōno Yoshito, Tamano Koichi and Tamano Hiroko, Temko Ima, and Waguri Yukio. The Tatsumi Hijikata Archive at Keio University, Morishita Takeshi, Homma Yu, Ishimoto Kae, Temple Japan Dean Bruce Stronach, and Mitsu Salmon, thank you all for your support of my research in Japan. I am deeply grateful to my professors at Temple University for their dedication and support of this process, especially my dissertation advisor Dr. Luke Kahlich, who helped me see the significance of this research in the larger context of performance training, among numerous other crystalizations, and Dr. Nagatomo Shigenori, whose writings and teachings in Japanese and Buddhist philosophy have helped me give language to the experience of butō dance. The entire Dance Department has shaped this work in some way: Dr. Kariamu Welsh through a cultural studies lens, Dr. Joellen Meglin through ethnographic research, Dr. Karen Bond through phenomenological inquiry, and Dr. Sarah Hilsendager through dance education studies. I also thank the Graduate School for their support through the Dissertation Completion Grant and Presidential Fellowship, and Dr. Kimmika Williams-Witherspoon for bringing her theater expertise to the committee. To my colleagues—Christine Bergman, Jennifer Conley, Kirsten Kashock, Nyama Mc-Carthy Brown, Kemal Nance, and Takiyah Nur Amin— iv thank you for being such a positive, supportive community. An enormous thank you to my family for all of their support and the spare bedroom between New York and Philadelphia, and to Kenn, for being a great study partner, listener, debater, resource, and so much more. And finally, gratitude for my feisty desk mate, Blue the cat, who kept me laughing and lived just long enough to see me finish this work. Now you can shred the papers! v TABLE OF CONTENTS PAGE ABSTRACT.........................................................................................................III ACKNOWLEDGEMENTS ...............................................................................IV LIST OF FIGURES............................................................................................. X CHAPTER 1. PRESENTATION OF STUDY................................................................................... 1 Introduction and Purpose Statement ........................................................... 1 Research Methods..................................................................................... 10 Researcher Profile..................................................................................... 11 Philosophical Framework ......................................................................... 25 Research Structure .................................................................................... 26 Research Questions................................................................................... 30 Overview of the Field and Contributions of the Study............................. 31 Delimitations and Limitations .................................................................. 34 2. SOURCE MATERIALS AND CONTEXT ................................................................. 37 Introduction ............................................................................................... 37 Butō Scholarship ....................................................................................... 38 Primary Source Material—Hijikata’s Written Records ............................ 41 Hijikata’s Choreographic Notebooks ........................................................ 43 Hijikata’s Published Writings ................................................................... 45 Cultural Context: Japan in the 20th Century.............................................. 55 Intersections with Japanese Post-War Literature.......................... 61 Influences from Mary Wigman and Ausdrucktanz....................... 64 Resonance with American Post-Modern Dance ........................... 68 vi Influences from Traditional Japanese Dance and Theater............ 72 Butō Master Profiles ................................................................................. 75 Ōno Yoshito.................................................................................. 75 Nakajima Natsu............................................................................. 76 Kasai Akira ................................................................................... 78 Tamano Koichi and Hiroko .......................................................... 78 Murobushi Ko............................................................................... 79 Mikami Kayo ................................................................................ 81 Waguri Yukio ............................................................................... 81 Tenko Ima ..................................................................................... 82 Shinichi Koga ............................................................................... 83 Matsuoka Dai................................................................................ 84 In Conclusion............................................................................................ 84 3. BECOMING NOTHING......................................................................................... 85 Becoming Nothing: Theoretical Foundations (Zen, Nishida and Hijikata) .................................................................................................................. 85 Overcoming dualism................................................................................. 88 Becoming Nothing.................................................................................... 95 Self-Identity and Nothingness ................................................................ 101 Basho—The Structure Of Reality........................................................... 104 Experience of Absolute Nothingness...................................................... 107 Questioning the Buddhist and Japanese Framework of this Study......... 110 Summary................................................................................................. 114 4. TRAINING THE BUTŌ BODY-MIND .................................................................. 116 Introduction............................................................................................. 116 The Ten Bull-Herding Pictures: A Illustration of Changing Awareness through Training....................................................... 119 vii A Possible Roadmap of Hijikata’s Methods for Training Awareness................................................................................... 123 The Disoriented Body-Mind................................................................... 124 Startled Awake: On the Edge
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