Butoh i Fusjon - et workshop-seminar
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Butoh i Fusjon
Mandag 23. til lørdag 28. juni 2025, kl 11 - 18.
Et intensivt workshop-seminar i Butoh-dans for profesjonelle utøvere, dansere, skuespillere, musikere, performancekunstnere og andre utøvende aktører i Norge.
Butoh-dansens fundament er en fysisk performativ kunstform, som åpner opp for flere retninger og uttrykk, og er stadig i utvikling og endring. Kjernen i arbeidet innebærer blant annet intensivt fysisk arbeid og konsentrasjon over tid.
Målet er å skape en inkluderende arena og gi deltakerne muligheten til å bli kjent med Butoh-dansens tverrkunstneriske muligheter. Og inspirere til å bruke butoh-dansens metoder og arbeidsverktøy i sammenheng med utvikling av scenisk aktivitet og nærvær.
Både utøvere med kjennskap til butoh-dans og de uten, er velkomne.
Kursholdere: Øyvind Jørgensen og Tove-Elena Nicolaysen.
Gjestelærere: Kenji Azumaru Tamura og MUTSUMINEIRO.
Workshop-seminaret er støttet av Kulturrådet og FFUK, og tilbys uten kostnad. Utover en påmeldingsavgift på kr 200,-.
Maks: 20 deltakere.
Bindende påmelding:
Send: Navn - Epost - Mobil - Kort biografi og motivasjonsbrev - ca. 3 setninger hver. Til: b2pwcm9kIHwgb25saW5lICEgbm8=.
- Vipps 200,- kr. til 907 21 231 - Øyvind Jørgensen.
- Merk betalingen med: BWS og navnet ditt.
Arrangør: Ø.J.Prod.
Støttet av: Kulturådet, FFUK og ulike regionale kompetansesentrer for dans i Norge.
Foto: Stein Jarle Nilsen, Izuru Yamamura, GEN Kasuga og Chom Sengpan
Historikk Butoh
Butoh oppsto i Japan på slutten av 1950-tallet, som en avantgardistisk danseform i kjølvannet av andre verdenskrig. Inspirert av blant annet tysk impresjonistisk dans, vestlig moderne dans og den folkelige delen av de tradisjonelle japanske teater- formene Noh og Kabuki, er Butoh en kunstform som ikke lett lar seg definere.
Butoh, eller Ankoku Butoh («Dance of Darkness»), Tatsumi Hijikata (1928-1986) og Kazuo Ohno (1906-2010) regnes som Butoh’s to grunnleggere, og som representanter for henholdsvis den «mørke» og den «lyse» Butoh. Den mørke Butohen gjenspeiler gjerne fattigdom, sykdom, død og krigens grusomheter, mens den lyse Butohen henspiller på det vakre og forgjengelige i livet. Felles for begge uttrykksformene er det absurde og groteske, ofte i kombinasjon med en lek med tabuer.
Butoh er en form som er i konstant fornyelse og utvikling og har vokst og spredt seg i Europa og Amerika de siste 20 årene. Butoh brukes også i andre kunstretninger som blant annet billedkunst, happenings og videokunst. Fellesnevneren i uttrykket er mer nærvær enn en fast form. Butoh-dans uttrykker ofte det undertrykte samfunnet, kultur eller kroppen i krise.
Om lærerne
Workshop-holderne har ulike tilnærminger til butohdans, noe som gjenspeiles både i generasjonsforskjeller, nasjonalitet og utviklingen innen butoh-feltet, nasjonalt og internasjonalt.
Øyvind Jørgensen ble introdusert til Butoh-dans gjennom Sankai Juku på City Center i NYC i 1984. I 1991 jobbet han med Butoh-koreograf Anzu Furukawa i forestillingen “Under the Window”. Det endret Øyvinds tilnærming og fokus i hans kunstneriske arbeid, som utøvende og skapende kunstner. Han har holdt et 20-talls intensive workshop i butoh-relatert arbeid, på varighet fra en - tre uker for profesjonelle og studenter på høgskolenivå.
Tove-Elena Nicolaysen har en mangfoldig tilnærming som kombinerer ulike Butoh-metoder og tradisjoner, fysisk teater, rituelt teater. Tove-Elena har gitt klasser og workshops på Butoh-festivaler i Japan, USA, Chile, Spania, Finland, Danmark og Norge. I tillegg har hun undervist på både forskole- og høyskolenivå i Norge.
Kenji Azumaru Tamura: Tatsumi Hijikata, one of the founders of Butoh, once told a student: "Your body is bound by your daily routine." He is supposed to have said so when the student was struggling to learn choreography. In Butoh, "cramps" is a well-known method, and to achieve these fine vibrations it is of course necessary to train the body, but it is even more important to have a "soft body". Due to our repetitive everyday routines, we have lost the “soft body” without even noticing it. At the workshop, I will speak more about this theory in combination with various exercises.
Mutsumineiro: Each time is "Once in a lifetime experience". - Workshop as a place for "Open experience". - Dance of Celebration. - Our workshop begins from founding the bases of existence through our body. - Diagonal line and Horizontal line (Spears through you) - Breathing (Strings) - Gravity (Life = Resistance) - Space (Field of dance begins from a point on this Universe). Through careful and precise experience, we throw ourselves into LOVE METAMORPHOSIS IMPROVISATION. Dance is a part of Cosmic Genesis just like a child licks and kicks a stone.
English:
Butoh in Fusion
Monday 23 – Saturday 28 June 2025, 11:00–18:00
An intensive Butoh dance workshop-seminar for professional performers, dancers, actors, musicians, performance artists, and other performing practitioners in Norway.
Butoh is a physical and performative art form that opens up multiple directions and expressions, continuously evolving and transforming. At its core lies intensive physical work and sustained concentration.
The goal is to create an inclusive arena and offer participants the opportunity to explore the interdisciplinary potential of Butoh dance. It aims to inspire the use of Butoh methods and tools in the development of stage presence and performance practices.
Both practitioners familiar with Butoh and those new to the form are welcome.
Workshop Facilitators: Øyvind Jørgensen and Tove-Elena Nicolaysen
Guest Teachers: Kenji Azumaru Tamura and MUTSUMINEIRO
The workshop-seminar is supported by Arts Council Norway, FFUK and offered free of charge, except for a registration fee of NOK 200.
Maximum participants: 20
Binding registration:
Send: Name – Email – Phone – Short bio and motivation letter (approx. 3 sentences each) to: b2pwcm9kIHwgb25saW5lICEgbm8=
• Vipps NOK 200 to 907 21 231 – Øyvind Jørgensen
• Mark the payment: BWS + your name
Organizer: Ø.J.Prod.
Supported by: Arts Council Norway, FFUK and various regional dance competence centers in Norway.
Photos by: Stein Jarle Nilsen, Izuru Yamamura, GEN Kasuga, and Chom Sengpan
⸻
History of Butoh
Butoh emerged in Japan in the late 1950s as an avant-garde dance form in the aftermath of World War II. Influenced by German expressionist dance, Western modern dance, and the folk aspects of traditional Japanese theatre forms such as Noh and Kabuki, Butoh is a genre that resists easy definition.
Butoh, or Ankoku Butoh (“Dance of Darkness”), was founded by Tatsumi Hijikata (1928–1986) and Kazuo Ohno (1906–2010), who are regarded as the genre’s two main pioneers. They represent two distinct aspects of Butoh—the “dark” Butoh, reflecting poverty, illness, death, and the horrors of war, and the “light” Butoh, pointing toward the beauty and transience of life. Both are characterized by the grotesque and the absurd, often playing with taboos.
Butoh continues to reinvent itself and has spread widely across Europe and the Americas over the past 20 years. It is also used in other artistic disciplines, such as visual art, performance, and video art. What unites Butoh practices is the emphasis on presence rather than form. Butoh often gives voice to repressed elements of society, culture, and the body in crisis.
⸻
About the Teachers
The facilitators bring distinct approaches to Butoh, shaped by generational perspectives, national backgrounds, and the development of the field both nationally and internationally.
Øyvind Jørgensen was introduced to Butoh through Sankai Juku at City Center in NYC in 1984. In 1991, he worked with Butoh choreographer Anzu Furukawa in the production Under the Window. This experience transformed Øyvind’s approach and focus as both a performing and creating artist. He has led around twenty intensive Butoh-related workshops, lasting from one to three weeks, for professionals and university-level students.
Tove-Elena Nicolaysen has a diverse approach combining various Butoh methods and traditions, physical theatre, and ritual theatre. She has taught classes and workshops at Butoh festivals in Japan, the USA, Spain, Chile, Finland, Denmark, and Norway, and has also taught at both preparatory and university levels in Norway.
Kenji Azumaru Tamura: Tatsumi Hijikata, one of the founders of Butoh, once told a student: “Your body is bound by your daily routine.” He said this when the student struggled with learning choreography. In Butoh, “cramps” is a known method. To achieve these subtle vibrations, training the body is important, but even more crucial is to develop a “soft body.” Our daily routines often cause us to lose this softness without realizing it. In the workshop, I will explore this theory through a variety of exercises.
MUTSUMINEIRO: Each moment is a “once-in-a-lifetime experience.” The workshop becomes a space for “open experience”—a dance of celebration. We begin by grounding ourselves in the fundamentals of existence through the body.
• Diagonal and horizontal lines (as if spears pierce through you)
• Breathing (as strings)
• Gravity (life = resistance)
• Space (the field of dance begins from a single point in the universe)
Through careful and precise exploration, we surrender ourselves to LOVE METAMORPHOSIS IMPROVISATION. Dance is part of the cosmic genesis, like a child who licks and kicks a stone.
Mandag 23. til lørdag 28. juni 2025, kl 11 - 18.
Et intensivt workshop-seminar i Butoh-dans for profesjonelle utøvere, dansere, skuespillere, musikere, performancekunstnere og andre utøvende aktører i Norge.
Butoh-dansens fundament er en fysisk performativ kunstform, som åpner opp for flere retninger og uttrykk, og er stadig i utvikling og endring. Kjernen i arbeidet innebærer blant annet intensivt fysisk arbeid og konsentrasjon over tid.
Målet er å skape en inkluderende arena og gi deltakerne muligheten til å bli kjent med Butoh-dansens tverrkunstneriske muligheter. Og inspirere til å bruke butoh-dansens metoder og arbeidsverktøy i sammenheng med utvikling av scenisk aktivitet og nærvær.
Både utøvere med kjennskap til butoh-dans og de uten, er velkomne.
Kursholdere: Øyvind Jørgensen og Tove-Elena Nicolaysen.
Gjestelærere: Kenji Azumaru Tamura og MUTSUMINEIRO.
Workshop-seminaret er støttet av Kulturrådet og FFUK, og tilbys uten kostnad. Utover en påmeldingsavgift på kr 200,-.
Maks: 20 deltakere.
Bindende påmelding:
Send: Navn - Epost - Mobil - Kort biografi og motivasjonsbrev - ca. 3 setninger hver. Til: b2pwcm9kIHwgb25saW5lICEgbm8=.
- Vipps 200,- kr. til 907 21 231 - Øyvind Jørgensen.
- Merk betalingen med: BWS og navnet ditt.
Arrangør: Ø.J.Prod.
Støttet av: Kulturådet, FFUK og ulike regionale kompetansesentrer for dans i Norge.
Foto: Stein Jarle Nilsen, Izuru Yamamura, GEN Kasuga og Chom Sengpan
Historikk Butoh
Butoh oppsto i Japan på slutten av 1950-tallet, som en avantgardistisk danseform i kjølvannet av andre verdenskrig. Inspirert av blant annet tysk impresjonistisk dans, vestlig moderne dans og den folkelige delen av de tradisjonelle japanske teater- formene Noh og Kabuki, er Butoh en kunstform som ikke lett lar seg definere.
Butoh, eller Ankoku Butoh («Dance of Darkness»), Tatsumi Hijikata (1928-1986) og Kazuo Ohno (1906-2010) regnes som Butoh’s to grunnleggere, og som representanter for henholdsvis den «mørke» og den «lyse» Butoh. Den mørke Butohen gjenspeiler gjerne fattigdom, sykdom, død og krigens grusomheter, mens den lyse Butohen henspiller på det vakre og forgjengelige i livet. Felles for begge uttrykksformene er det absurde og groteske, ofte i kombinasjon med en lek med tabuer.
Butoh er en form som er i konstant fornyelse og utvikling og har vokst og spredt seg i Europa og Amerika de siste 20 årene. Butoh brukes også i andre kunstretninger som blant annet billedkunst, happenings og videokunst. Fellesnevneren i uttrykket er mer nærvær enn en fast form. Butoh-dans uttrykker ofte det undertrykte samfunnet, kultur eller kroppen i krise.
Om lærerne
Workshop-holderne har ulike tilnærminger til butohdans, noe som gjenspeiles både i generasjonsforskjeller, nasjonalitet og utviklingen innen butoh-feltet, nasjonalt og internasjonalt.
Øyvind Jørgensen ble introdusert til Butoh-dans gjennom Sankai Juku på City Center i NYC i 1984. I 1991 jobbet han med Butoh-koreograf Anzu Furukawa i forestillingen “Under the Window”. Det endret Øyvinds tilnærming og fokus i hans kunstneriske arbeid, som utøvende og skapende kunstner. Han har holdt et 20-talls intensive workshop i butoh-relatert arbeid, på varighet fra en - tre uker for profesjonelle og studenter på høgskolenivå.
Tove-Elena Nicolaysen har en mangfoldig tilnærming som kombinerer ulike Butoh-metoder og tradisjoner, fysisk teater, rituelt teater. Tove-Elena har gitt klasser og workshops på Butoh-festivaler i Japan, USA, Chile, Spania, Finland, Danmark og Norge. I tillegg har hun undervist på både forskole- og høyskolenivå i Norge.
Kenji Azumaru Tamura: Tatsumi Hijikata, one of the founders of Butoh, once told a student: "Your body is bound by your daily routine." He is supposed to have said so when the student was struggling to learn choreography. In Butoh, "cramps" is a well-known method, and to achieve these fine vibrations it is of course necessary to train the body, but it is even more important to have a "soft body". Due to our repetitive everyday routines, we have lost the “soft body” without even noticing it. At the workshop, I will speak more about this theory in combination with various exercises.
Mutsumineiro: Each time is "Once in a lifetime experience". - Workshop as a place for "Open experience". - Dance of Celebration. - Our workshop begins from founding the bases of existence through our body. - Diagonal line and Horizontal line (Spears through you) - Breathing (Strings) - Gravity (Life = Resistance) - Space (Field of dance begins from a point on this Universe). Through careful and precise experience, we throw ourselves into LOVE METAMORPHOSIS IMPROVISATION. Dance is a part of Cosmic Genesis just like a child licks and kicks a stone.
English:
Butoh in Fusion
Monday 23 – Saturday 28 June 2025, 11:00–18:00
An intensive Butoh dance workshop-seminar for professional performers, dancers, actors, musicians, performance artists, and other performing practitioners in Norway.
Butoh is a physical and performative art form that opens up multiple directions and expressions, continuously evolving and transforming. At its core lies intensive physical work and sustained concentration.
The goal is to create an inclusive arena and offer participants the opportunity to explore the interdisciplinary potential of Butoh dance. It aims to inspire the use of Butoh methods and tools in the development of stage presence and performance practices.
Both practitioners familiar with Butoh and those new to the form are welcome.
Workshop Facilitators: Øyvind Jørgensen and Tove-Elena Nicolaysen
Guest Teachers: Kenji Azumaru Tamura and MUTSUMINEIRO
The workshop-seminar is supported by Arts Council Norway, FFUK and offered free of charge, except for a registration fee of NOK 200.
Maximum participants: 20
Binding registration:
Send: Name – Email – Phone – Short bio and motivation letter (approx. 3 sentences each) to: b2pwcm9kIHwgb25saW5lICEgbm8=
• Vipps NOK 200 to 907 21 231 – Øyvind Jørgensen
• Mark the payment: BWS + your name
Organizer: Ø.J.Prod.
Supported by: Arts Council Norway, FFUK and various regional dance competence centers in Norway.
Photos by: Stein Jarle Nilsen, Izuru Yamamura, GEN Kasuga, and Chom Sengpan
⸻
History of Butoh
Butoh emerged in Japan in the late 1950s as an avant-garde dance form in the aftermath of World War II. Influenced by German expressionist dance, Western modern dance, and the folk aspects of traditional Japanese theatre forms such as Noh and Kabuki, Butoh is a genre that resists easy definition.
Butoh, or Ankoku Butoh (“Dance of Darkness”), was founded by Tatsumi Hijikata (1928–1986) and Kazuo Ohno (1906–2010), who are regarded as the genre’s two main pioneers. They represent two distinct aspects of Butoh—the “dark” Butoh, reflecting poverty, illness, death, and the horrors of war, and the “light” Butoh, pointing toward the beauty and transience of life. Both are characterized by the grotesque and the absurd, often playing with taboos.
Butoh continues to reinvent itself and has spread widely across Europe and the Americas over the past 20 years. It is also used in other artistic disciplines, such as visual art, performance, and video art. What unites Butoh practices is the emphasis on presence rather than form. Butoh often gives voice to repressed elements of society, culture, and the body in crisis.
⸻
About the Teachers
The facilitators bring distinct approaches to Butoh, shaped by generational perspectives, national backgrounds, and the development of the field both nationally and internationally.
Øyvind Jørgensen was introduced to Butoh through Sankai Juku at City Center in NYC in 1984. In 1991, he worked with Butoh choreographer Anzu Furukawa in the production Under the Window. This experience transformed Øyvind’s approach and focus as both a performing and creating artist. He has led around twenty intensive Butoh-related workshops, lasting from one to three weeks, for professionals and university-level students.
Tove-Elena Nicolaysen has a diverse approach combining various Butoh methods and traditions, physical theatre, and ritual theatre. She has taught classes and workshops at Butoh festivals in Japan, the USA, Spain, Chile, Finland, Denmark, and Norway, and has also taught at both preparatory and university levels in Norway.
Kenji Azumaru Tamura: Tatsumi Hijikata, one of the founders of Butoh, once told a student: “Your body is bound by your daily routine.” He said this when the student struggled with learning choreography. In Butoh, “cramps” is a known method. To achieve these subtle vibrations, training the body is important, but even more crucial is to develop a “soft body.” Our daily routines often cause us to lose this softness without realizing it. In the workshop, I will explore this theory through a variety of exercises.
MUTSUMINEIRO: Each moment is a “once-in-a-lifetime experience.” The workshop becomes a space for “open experience”—a dance of celebration. We begin by grounding ourselves in the fundamentals of existence through the body.
• Diagonal and horizontal lines (as if spears pierce through you)
• Breathing (as strings)
• Gravity (life = resistance)
• Space (the field of dance begins from a single point in the universe)
Through careful and precise exploration, we surrender ourselves to LOVE METAMORPHOSIS IMPROVISATION. Dance is part of the cosmic genesis, like a child who licks and kicks a stone.
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