By Sondra Horton Fraleigh
Dancing Into Darkness is Sondra Horton Fraleigh's chronological diary of her deepening realizing of and appreciation for this artwork shape, as she strikes from a place of aesthetic reaction as an viewers member to that of assimilation as a pupil. As a scholar of Zen and butoh, Fraleigh witnesses her personal inventive and private transformation via essays, poems, interviews, and reflections spanning twelve years of analysis, a lot of it in Japan. a variety of functionality images and unique calligraphy by way of Fraleigh's Zen instructor Shodo Akane light up her words.
The items of Dancing Into Darkness pass barriers, simply as butoh anticipates a turning out to be international amalgamation. "Butoh isn't a classy stream grafted onto Western dance, " Fraleigh concludes, "and Western dance might be extra japanese than now we have been in a position to see. "
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Additional info for Dancing Into Darkness: Butoh, Zen, and Japan
Then, when familiar territory is given up, the traveler can stand in a new familiar, in the place where worlds (and they are whole worlds) meet. Late November 1994 My interests often elicit good-natured comments from the Japanese on how it takes a foreigner (who comes to Japan) to "teach the Japanese" about Zen and Butoh. When outsiders take an interest in another culture, especially if they adopt aspects that ring (in some way) true to their own character, natives may see themselves in a new light.
21 Graham and Wigman, even as they turned toward Greek mythology, embraced a Japanese stylistic flair for abstraction. Isamu Noguchi's sets brought Japanese bare bones design to Graham's works, and Wigman's inscrutable Nohlike masks abstracted her frenzied movements. Ernst Scheyer, professor of art history and a reviewer of dance concerts in Gero 't" many from 1930 to 1933, watched Wigman's work grow over time. 22 Wigman's lucid masks, some of which were made by Victor Magito who had worked with Japanese Noh masks, gave her a route from expressionism to abstraction.
They celebrate the sacred pleasure of unification, eroticism, and spirituality in harmony. The lusty and vibrant Butoh company, Dairakudakan, stirs up a yoga eroticism in its supple and burning Tale of the Su~ pernatural Sea Dappled Horse. I saw this in Tokyo in the spring of 1990, in Asakasa, the old section of Tokyo. The theater had been overbooked, so I sat on balcony steps, packed shoulder to shoul~ der with others, a situation the Japanese are used to-and some~ times expect in the theater.