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Part Two: Dairakudakan - A compilation of Butoh Exercises

Part Two: Dairakudakan Part Two: Dairakudakan

All exercises are taken from my experiences with Dairakudakan. I will first describe the exercises that primarily deal with body shape and body technique, then describe the exercises that were primarily image driven.

^ Technique Exercises

Kihon Basic Stance

Imagine a thread attached to the very top of your head and the rest of your body as a limp doll. The thread pulls you up onto your very tiptoes, then settles you down so your legs are bowed. Because the thread is the point of suspension, your upper body is straight: head up and back over the spine, gaze forward, hips under the spine, arms limp, and legs bowed. See diagram: Kihon Hokou "Suriashi" ^ Basic Walk "Sliding Feet"

Variations on the basic walk, suriashican be found in many of the Japanese performing arts: Noh, Nihon-Buyo, and
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Kyogen. I was not taught any movement images with this walk such as with the Ankoku Butoh basic walks.

The body is first pulled into the basic stance. A foot slides forward about 3/4 length of the other foot. Heel of foot to ball of foot slightly raising and lowering. The other foot slides forward to take a step. If one were walking on sand, the two lines left by the feet would be totally parallel. The whole body is being pulled forward; one point does not lead. The hips may sway a little, but the body must not bob up and down at all. Himo ni Hipparareru ^ Thread Movement Series

There are two basic movement techniques. One is the thread movement, being pulled here and there the other water spouting through the body. First I will describe the thread movement sequences:

Thread movement 1

Get pulled into the basic stance. A thread is attached to the centre of your hips, inside your body. A thread is attached to the centre of your chest, inside your body.
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A thread is attached to the centre of your head, inside your face. The thread pulls your hips forward. The rest of your body stays in the basic stance. Hips get pulled forward right. Hips get pulled right. Hips get pulled back right. Hips get pulled back. Hips get pulled back left. Hips get pulled left. Hips get pulled forward left. Hips get pulled forward. Repeat. Repeat. Hips get pulled in a 360 motion all directions. Reverse direction and start over.

The thread pulls your chest forward. The rest of your body (including hips and face) stays in the basic stance. Chest gets pulled forward right. Chest gets pulled right. Chest gets pulled back right. Chest gets pulled back. Chest gets pulled back left. Chest gets pulled left.
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Chest gets pulled forward left. Chest gets pulled forward. Repeat. Repeat. Chest gets pulled in a 360 motion all directions. Reverse direction and start over. The thread pulls your face forward. The rest of your body (including hips and chest) stays in the basic stance. Face gets pulled forward right. Face gets pulled right. Face gets pulled back right. Face gets pulled back. Face gets pulled back left. Face gets pulled left. Face gets pulled forward left. Face gets pulled forward. Repeat. Repeat. Face gets pulled in a 360 motion all directions. Reverse direction and start over.

Thread Movement 2

Get pulled into the basic stance.

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The thread that suspends you in the basic stance goes totally limp. Collapse! The thread attached to your head tightens, and slowly pulls you up to the basic stance again, as described above. You are being pulled from your head, so the top of the head leads, while the body merely follows.

Thread Movement 3 Get pulled into the basic stance. The thread that suspends you pulls taught, pulling you to your tiptoes. It moves, pulling your body along with it, on your tiptoes, all over the place. Since the thread is taught, attached to your head, and above you, your whole body is straight and rigid: dragged across the space. Thread Movement 4

Get pulled into the basic stance. Imagine threads attached to all your various joints. (Including above exercise.) A thread attached to your hand pulls your arm upward. The hand alone moves, pulling the arm of body after it as the hand gets pulled upward. The thread goes limp. Arm returns to dangling position. Experiment in this way with various
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threads to various body parts, pulling in different directions, up, down, side to side. The point of movement is always the thread: you are being moved. Notes:

Since the point of movement is the sensation of being pulled by the thread, it is important that the body follow and notlead the motions. An outside view should clearly show this to be the case.

Mizu ni Ugokaseru Moved by Water Series Instead of the body being moved by various threads from external sources, in this set of body techniques water is flowing though the body, producing movements that start inside the body. It is important to not that the body is stillbeing moved and not moving of its own accord.

Water Movement 1

Get pulled into the basic stance. The thread that suspends you in the basic stance goes totally limp. Collapse! Water flows into you from below. Like a hose moving under water pressure, the water moves your body and pushes you up. All parts of your body are limp until water
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reaches (head and neck as well) them and thrusts them forward: First your knees. Then your hips. Then your belly. Then your chest. Overflow, push. Then the water flows out your head, returning you to the basic stance. This should look like a wave motion, clearly travelling up the length of your body. Collapse! Repeat. Faster and faster, till it becomes almost uncontrollable. Water Movement 2

Get pulled into the basic stance. Without collapsing, water flows into you from below, producing a wave ripple through your body that thrusts each body part forward as the water passes: First your knees. Then your hips. Then your belly. Then your chest. Overflow, push. Then the water flows out your head, returning you to the basic stance. This should look like a wave motion, clearly travelling up the length of your body.
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Over and over again, getting faster and faster until the body is trembling up and down in the thrall of the water pressure. ^ Water Movement 3: Forced to Walk

Get pulled into the basic stance. Without collapsing, water flows into you from below, producing a wave ripple through your body that thrusts each body part forward as the water passes: First your knees. Then your hips. Then your belly. Then your chest. Overflow, push. Then the water flows out your head, returning you to the basic stance. This should look like a wave motion, clearly travelling up the length of your body. The pressure of the water travelling up the spine and thrusting your chest forward makes you loose balance. Take a step forward to regain balance. Repeat, with other foot. Water Movement 4

Get pulled into the basic stance. A jet of water spurts from your chest, travelling out one arm, making it tense and thrust like a hose. Go limp back to basic stance.
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A jet of water spurts from your chest, travelling out the other arm, making it tense and thrust like a hose. The above, fast! Go limp back to basic stance. A jet of water shoots across the shoulders, from one arm into the other! Go limp to basic stance. Slowly, multiple jets of water spurt though and from your body, forcing you into all kinds of positions. Through the feet, hips, chest, head, etc.. Experiment with tempo. Some times some parts of the body stay limp, not being moved by any jets of water. Sometime you are such in the thrall of the water that you whole body is violently moving and bursting. Other times, the body is slowly and inevitably moved by the water.

^ Water Movement 5: the Octopus ( tako)

Get pulled into the basic stance. Keeping your feet firm on the ground, water begins to spurt and jet though the chest, arms, and upper body. The movement is primarily side to side, with no forwards and backwards movements. This is very, very fast. This is called the octopus, or tako.
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Notes:

Through the water series of exercises, the body should look like it is being moved by an internal source. Another point of importance is the wave motion through the body as water travels up it. It is challenging, but ultimately a rewarding sensation when done correctly.

^ Other Types of Movements

The above basics are taught to students to emphasize and codify a way of moving that all dancers can adhere to and replicate. For the purposes of choreography, these movement patterns play a huge role, but here are a few more movements that we learned.

Bakuhatsu Explosion

There is an explosion through the body. Arms and fingers are outstretched as wide sideways as possible. Face and facial expression are as wide and open as possible. Legs and toes are as wide apart as possible and you are standing on the heels of your feet. All power is lost, collapse into a crouch. Explode again. Repeat 30 times, faster and faster each time, and fully exploding and collapsing
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each time. Hanabi Fireworks

Face and facial expression are as wide and open as possible. Arms and fingers are as outstretched as possible and pinwheeling a circle in front and behind the body (counter-clockwise), as fast as possible. Toes are outstretched. Legs are splayed forward and you are on the heels of your feet, rapidly drumming them both on the floor very fast, as if trying to escape fireworks exploding around your feet (hence the name), and barely keeping enough contact with the floor for balance. ^ Image Based Exercises

The next few exercises had no specific shapes to imitate or poses to assume. What happens happens. Like some of the Ankoku Butoh work, the student must imagine and bodily experience the movement cues.

Because these are all related and build into each other, they will be typed as if one exercise.

Some preliminary explanation is required. Maro Akaji's lecture:

When, in the course of everyday life, humans experience a small accident like
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stubbing one's toe, we experience a short burst of surprise and pain where we forget everything we've been thinking and feeling up to then. We even forget who we are. This experience only lasts a split second, but it is vital to the dance. We artificially extend the crisis point of pain and surprise. We loose all sense of who we are. Our bodies are in crisis. I like to think of it as falling into a dark hole. This crisis point, if held long enough, passes into what I call "space body," ( chuutai) where the body is a mere vessel. Hands are no longer implements. Eyes are no longer for seeing. In this space, various beings can pass though us. They can take over us, possess our being. Animals, ghosts, anything can travel into us and take over. When this happens, it is called "carrying". ( hakobu)

^ Space Body and Carrying

The student mimes an everyday activity. Anything will do, brushing teeth, shaving, clipping toenails, walking, showering, brushing hair, etc.. Imagine this with total conviction. When the teacher claps his/her hands, an accident of the kind described above occurs. Fall into a dark hole. Forget everything. Pain and surprise spread from the accident site through the whole body. Prolong the crisis point. Sixty seconds or more.
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Repeat the above until the student becomes good at prolonging the crisis point.

One again, mime and everyday activity, then prolong the crisis point. Pass into "space-body," where all points of reference are lost. The body becomes a mere vessel. Hands are no longer implements. Eyes do not see. Standing is not conscious. Body floats. Repeat the above until the student becomes good at entering "space-body".

One again, go through the above process until "space-body" is achieved. The teacher then calls out various animals or concepts that enter the body from behind and transform the student. A horse. The spirit of a horse. How does the body become moved by this spirit? Not the imitation of the form of a horse, but the spirit, the essence of a horse invades the body, transforming the student. The ghost of a wicked old lady. A caterpillar. Etc...

Notes:
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There should be more than enough time given so that the students can truly master the various points of transformation from everyday activity to crisis point, to "space body" and beyond. Carrying (hakobu) different beings should be undertaken with care, letting each being settle and transform the body for a time.

It is important to note that hakobu does not mean imitation, rather, the essences or spirits of different beings take over and transform the dancer.

There are various postures (kata) for different animals, but until one becomes skilled at hakobu, these set postures are not important to imitate. According to Maro, these set postures are important only in choreography.

(Dairakudakan via Coelho) Part Three: Other Schools of Butoh

Kasai Toshiharu Ude no Tachiage Arm Standing

This exercise is the only one in this compilation that is related to Noguchi Gymnastics. I include it because it fuses Noguchi Kasai's own ideas of butoh. 1. Lie down on the floor on your back. If you have back problems,
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you may keep your knees bent. It is not neccesary to stretch your knees. 2. Stretch you arms wide open (with your palms facing upward) along the floor. 3. Rest your arms on the floor. 4. Try to touch the floor with your nails in order to stretch your arms farther. 5. Release tension from your entire body and take a rest for a while. 6. Slowly, lift your forearms, keeping your elbows on the floor, until each arm forms a right angle. 7. Keep breathing normally. Try not to close your throat when you move your arms. 8. Slowly life your entire arm. Don't move in a hurry. This is a precious moment to perceive your arm weight for encounter with the "god of gravity". 9. Continue lifting your arms, raising your shoulder blades off the floor. 10. Stretch your arms all the way upward. Keep this position for a while. 11. Release tension from your shoulders and allow your shoulder blades to rest on the floor while your arms are kept straight upward. 12. Feel your shoulder blades on the floor and try to locate on which the weight of the arm rested. Your shoulder blades are like a foundation upon which all of the
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weight of your arm weighs. 13. Try to suspend your arms up in the air with as little muscle tension as possible. Keep your arms in this position for a while. 14. When you feel tired, release tension from your shoulders and lower your elbows to the floor gradually. Feel how heavy your arms are while lowering your arms. 15. Rest your elbows on the floor. Then, release tension from your elbows, allowing your forearms lower gradually. 16. Rest your arms on the floor. Feel that your body is more relaxed and tranquil. 17. Repeat this exercise a few times. Try to keep your arms up with as little muscle tension as possible.

Notes from Kasai:

When you can keep your arms up with very little muscle tension, you may notice that your arms begin to move a little bit, gradually making side to side movements, or circular movements. You may think to yourself, 'Unintentionally, my arms are beginning to move a little bit, gradually making side to side movements or circular movements.' If your body reacts the way that you thing, this is an example of ideomotor [unconscious] movement. (Kasai 79)

(Kasai 77-79)

lshii Mitsutaka
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Kokyouhou Dansu Breathing Dance

Each dancer breaths in a set rhythmical pattern. No need to match with other students. Any breathing pattern can be used: deep, deep, shallow, shallow, shallow deep, etc... Using the energy released and lung movements provided by this control, dance freely. At times, match breathing with another student, and using their patter, dance duets. Other times, come into physical bodily contact with another student when bodies touch, release a gust of breath. Begin to use the idea of touching other students being an element that controls breath. Improve freely with this idea.

(Ishii via Mizumochi)

^ Ishii Mitsutaka Three Person Dance

The students form groups of three. Each group dances alone in front of everyone else, taking turns. The teacher plays some music anything can work. The students in the group of three must dance solely with the idea of giving and
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receiving energy, but never dancing with their own energy. A three-person exchange of energy happens, the total energy of the group reaching a fever pitch over five min or so. The next group of three students.

(Ishii via Mizumochi) ^ Kanazawa Butoh-kan Electricity Tree

The student must imagine and bodily experience the below movement cues.

1) The students form a circle, but stand back to front. 2) Grasping, clutching a giant tree's branches in front, 3) Slowly shaking the branches of the tree. 4) The tree moves forward, and so do the students in their want to grasp the tree. 5) The tree disappears. 6) Hands slowly raise straight up to the ceiling, as if the student is slowly being hung from the ceiling by their outstretched hands. 7) Body as stretched taught upward as possible; hanging from the ceiling. 8) Walk forward on balls of feet very, very slowly. 9) Electricity begins to gather between two outstretched hands, crackling and fizzing.
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10) Need to electricise whole body. 11) To electrify body, run hands all over body, starting high and going lower slowly. Do not touch body with hands. 12) Lower slowly. 13) So low one becomes a squatting gorilla. 14) From low squatting position, walk forward slowly on balls of feet. 15) Repeat for twenty minuets or so.

Posture Diagrams:

Part 8 Part 14 (Yamamoto Moe via Mizumochi)

Kanazawa Butoh-kan Heel Slide Walk 1. The students form a circle, but stand back to front. 2. Walking in a circle, walk naturally with 15 cm steps. 3. Proceed for about five min. 4. Slowly begin to change walk like so: 5. Left heel slides on floor forward while right foot remains on floor. 6. Left foot presses down on floor
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while right heel slides forward. 7. Walk in this manner for a time. 8. Gradually lengthen the length of each heel slide. 9. As long a heel slide as possible. 10. As long a step as possible. 11. Slowly, slowly shorten the step length. 12. Gradually until step length becomes as short and narrow as possible. 13. Repeat process for about 15 min.

Diagrams:

Heel Slide walk (parts 5-6) (Yamamoto Moe via Mizumochi)

Kanazawa Butoh-kan Fragrance Exercise

The student must imagine and bodily experience the below movement cues.

Smell a flower 20 cm in front of your face. You become surrounded by flowers. With your sense of smell, search 360 degrees for the flowers Become aware of your own scent. Search for and find the areas of your own
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body's smell. Under legs, arms, feet, etc... Begin to dance with this idea. Return to smelling the flower in front of face.

Notes:

This is Kanazawa Butoh-kan's primary exercise, which they practise for as long as an hour at a time. There is no set shape.

(Yamamoto Moe via Mizumochi) ^ Frances Barbe Dance Experience

First Phase Stand in a very prepared, ready state, facing any direction you like. Take a simple, neutral form or stance.

We want to see how the first image enters your body and changes it, so it is important to start with a clear, empty body.

The workshop leader speaks the lines, repeating the image, and leaving space to watch the dancers' responses.

A person is buried in a wall. S/he becomes and insect. The internal organs are parched and dry,
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The insect is dancing on a thin sheet of paper. The insect tries to hold falling particles from its own body. And dances, making rustling noises. The insect becomes a person, who is wandering around, So fragile, s/he crumbles at the slightest touch.

Come to stillness......And finish.

Second Phase Now we repeat the exercise in two groups so participants have the chance to work with the images more than once, and so they can watch each other. It is not necessary to repeat exactly the same forms, new ones can be found each time, but it can be useful to repeat a form that has potential, so that it can be experienced more deeply.

Third Phase Next you can go through the transformations without me talking, because you know the sequence. Listen to the energy of the room so that you can experience the difference and similarities between the bodies in the space. (This can be done in silence or with music.)

Fourth Phase Repeat the process using your ownbutoh-fu.

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(Barbe, qtd. in Fraleigh & Nakamura 136-37) Seiryukai Become a Wave

First Phase First, breathe in deeply, and then slowly breathe out completely emptying your body of air.

As you breathe out, move your tailbone toward the floor as you gently and calmly move into a crouch sitting on your heels. Imagine your tailbone rooting deeply into the earth.

Imagine a rod running through your centre from head to foot. From the crouching position, very slowly begin rising to a standing position feeling the rod grounding you and pulling you down.

Second Phase In the full standing position, imagine a translucent thread rising from the top of your head drawing you up toward the sky. Holding the feeling of being pulled up, slowly begin descending into a crouch on your heels.

Repeat: rising and descending with these images as slowly as you can.

Third Phase From a full standing position, imagine someone pulling you from behind. Incline your body forward. Then incline your body in all directions as you sense a pull
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in the opposite direction.

Continue sensing an opposing pull as you life your arm, lift your leg, turn in a circle, run, jump, fall down. No matter how violent your movements are, observe them calmly.

See yourself. Then see another self.

(Harada Nobuo via Fraleigh and Nakamura 140-41)

^ Vangeline Theatre Electricity Stand

The student must imagine and bodily experience the below movement cues.

Lie on the floor. Feel electricity crackling through the soles of your feet. The electricity through your feet produces small involuntary movements. These small movements gradually turn into the sloshing of water in your body. Your body becomes a bag of water. Slosh. Slosh. Slowly, begin to stand. The water pushes though your body like a wave, bringing you to a standing position.

(Vangeline via Coelho)

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^ Diego Pion Tongue Egg

One student keeps twenty raw eggs in a bowl. All the other students obsessively search and reach for the eggs with their tongues. The student with the eggs must keep the others away at all cost, even forcibly.

(Diego Pion via Ben Stuber)

^ Diego Pion Egg Crisis

Place many raw eggs into a large bowl of water. Keep eyes shut. Using only your mouth, attempt to grasp an egg by bobbing your head into the water. If you manage to grasp an egg, try to hold it in your mouth without breaking it. Using the feeling of grasping a raw egg in the mouth, dance with revulsion.

(Diego Pion via Ben Stuber)

^ Diego Pion The Ox

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Partner in groups of two. One person attempts to cross the room to retrieve a love, a treasure, a mystery, some important goal. The other person attempts to prevent them from doing to by successively grasping seven points of their body: shoulders, elbows, wrists, hips, knees, ankles, and mouth. The person advancing must use all their strength to walk forward. The other person must put all their strength into preventing their partner from advancing. (Diego Pion via Ben Stuber) Conclusions

Without almost no exceptions, all the exercises here use image work to varying degrees. From the razorblades and insects of Ankoku Butoh, to Dairakudakan's threads and water jets, to Seiryukai's rod in the body. There is a general trend towards the body as "being moved," from an internal or external source, rather than consciously moving a body part.

Looked at from completely scientific standpoint, this is rarely possible unless under great duress or pain, but as Kurihara points out, pain, starvation, and sleep deprivation were all part of life under Hijikata's method (1996, 165-66, 171), which may have helped the dancers access a movement space where the movement cues had terrific power. It is also worth noting that Hijikata's movement cues are in general, much more visceral and complicated than anything else presented here.
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Dairakudakan's series of "thread movements" and "water movements" are very simple and effective means of having the dancer move in precise shapes with precise qualities. Looked at as merely a method to systemize movement in all their dancers, it is quite effective. Yet, these simple basics are paired with Maro's ideas of chuutai and hakobu (Hakobu, at least, does not belong to Maro alone) that are achieved through the prolonging of the crisis body. Unlike Hijikata, Maro does not use complicated and evocative language, but focuses more heavily on movement technique and mind technique as separate entities, combining them in performance more than in the studio.

Parts of Dairakudakan's movement sequences are designed to make the dancer loose a measure of control over their body through very fast movement: the water jets thrusting through the body at high speed for example. There are few exercises I came across that had the idea of uncontrolled or high-speed movement.

The last section of exercises showed some diverse methods of achieving butoh dance. Kasai's arm-raising sequence, designed to make the student aware of small nerve impulses in the bodies, for example, is a very effective means of finding and controlling minute muscles. A certain element of "control vs. uncontrol" is present through many of the exercises here, and I think Kasai's exercise is one of the more effective ones to that end.

One more thing that becomes apparent is how the exercises from Japan almost all (with a few crucial exceptions!) have specific body shapes or general postures assigned to them, while none of the
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exercises from Western butoh dancers have specific shapes. This seems to point to a general trend in the West that butoh is not seen as specific movement cues with shapes assigned to them such as Ankoku Butoh or Dairakudakan's technique work, but rather that butoh is a certain state of mind or feeling that influences the body directly or indirectly. For example, Diego Pion's instruction "dance with revulsion" from the Egg Crisis exercise.

This reading of butoh is certainly an interesting one in the context of performance. I remember attending a butoh workshop in New York, and remarking how specific Hijikata's choreographies were. "What? Butoh isn't ever choreographed! It would loose its soul," was what an older dancer said to me. She was right in that butoh dance is not mere choreography: the exercises here indicate an altered state of mind, which would be lost if dancers were to retain the shape of butoh without any further work.

Hijikata did in fact stress feeling throughform in his dance, saying, "Life catches up with form" (Ohno 94), which in no way suggest that his dance was mere form. Ohno Kazuo, though, comes from the other direction: "Form comes of itself, only insofar as there is a spiritual content to begin with" (Ohno 94). It is my conviction that both approaches are complimentary, and that any attempt to codify one viewpoint of the other does no justice to both dancers' skilful performances.

The trend towards form is apparent in several Japanese dance groups, who merely recycle Hijikata's shapes and
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present butoh that is mere body-shapes and choreography (Viala 100): which would lead butoh closer to Contemporary Dance or Performance Art than anything else. A good example of this is Torifune Butoh-sha's recent works.

Yet in the West, if the trends of butoh as a form of dark Authentic Movement continue, butoh might end up as a form of dancer or acting training, such as Uta Hagen's Representational Acting, Psychological Gesture, Contact Improvisation, or Labanotation. In turn, this provokes two questions: has butoh lost its teeth? Does butoh still need teeth?

I will close with a paragraph from butoh dancer Iwana Masaki, whose work shies away from all elements of choreography.

I have never heard of a butoh dancer entering a competition. Every butoh performance itself is an ultimate expression; there are not and cannot be second or third places. If butoh dancers were content with less than the ultimate, they would not be actually dancing butoh, for real butoh, like real life itself, cannot be given rankings. (9) Bibiliography

Dairakudakan. Workshop experience. July 28 ~ Aug 8 2007.

Fraleigh, Sondra and Tamah Nakamura.Hijikata Tatsumi and Ohno Kazuo. New York: Routledge, 2006.

GooSayTen. Home page. April 2008 .

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Hakutoboh. Home page. April 2008 .

Inkboat. Workshop experience. May 26 2005.

--. Home page. April 2008 .

Iwana, Masaki. The Dance and Thoughts of Masaki Iwana. Tokyo: Butoh Kenkyuu-jo Hakutou-kan, 2002.

Kanazawa Butoh-kan. Home page. April 2008 .

Kasai, Toshiharu. "The Arm-Standing Exercise for Psychosomatic Training."Bulletin of the Faculty of Humanities, Sapporo Gakuin U. 77 (2005): 77-81.

Kuniyoshi, Kazuko. An Overview of the Contemporary Japanese Dance Scene. Tokyo: The Japan Foundation, 1985.

Kurihara, Nanako. The Most Remote thing in the Universe: Critical Analysis of Hijikata Tatsumi's Butoh Dance. Diss. New York U, 1996. Ann Arbor: UMI, 1996. 9706275

--. "Hijikata Tatsumi: the Words of Butoh." TDR 44:1 (2000): 12-81.

Mikami, Kayo. Utsuwa to shite Shintai. Tokyo: ANZ Publishers, 1993.

Mizumochi, Jyunko. Personal interview. 16, 17 April 2008.

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Part Two: Dairakudakan - A compilation of Butoh Exercises

Ohno, Kazuo and Yoshito Ohno. Kazuo Ohno's World from Without and Within. Trans. John Barrett. Middletown: Wesleyan U P, 2004.

Pion, Diego. Home page. April 2008 .

Stuber, Ben. E-mail interview. March 20 2008.

Torifune Butoh-sha. Workshop experience. June 16 ~ July 7 2007.

--. Home page. April 2008 .

Vangeline. Workshop experience. July 18 2006.

--. Home page. April 2008 .

Viala, Jean. Butoh: Shades of Darkness. Tokyo: Shufunotomo, 1988.

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