This essay argues for a fluid view of the Japanese avant-garde dance form. Just as butoh resists fixity, this essay is a pastiche of perspectives constituting multiple interpretations of butoh rather than a singular explanation. Through a consideration of Judith Hamera’s 1990 essay “Butoh, Ma, and a Crosscultural Gaze,” coupled with recent popular attention to the form, historical narratives of the Japanese avant-garde and butoh, personal narrative, and reflections provided by butoh performers, this essay opens up alternative ways for thinking about dance practices, and butoh specifically, in performance studies.
"Butoh, Bodies, and Being,"
Kaleidoscope: A Graduate Journal of Qualitative Communication Research: Vol. 8
, Article 4.
Available at: http://opensiuc.lib.siu.edu/kaleidoscope/vol8/iss1/4