VANGELINE THEATER and the NEW YORK BUTOH INSTITUTE offer intensive Butoh workshops in New York led by Master teachers all year round.
Our roster of Butoh teachers include Butoh Masters Yumiko Yoshioka, Katsura Kan, Tetsuro Fukuhara, Atsushi Takenoushi, Hiroko and Koichi Tamanos, Kota Yamazaki, Kudo Taketeru, Daisuke Yoshimoto, Natsu Nakajima, Vangeline and many other second and third generation Butoh artists.
You can scroll down here to see our upcoming workshops. To enroll, click on payment links.
Consult to EVENT CALENDAR to scroll through our upcoming Butoh workshops.
Butoh in performance: One day Butoh workshop with Vangeline - 6 hours
Sunday, October 22, 2017
at CAMEO STUDIOS
307 West 43rd Street corner of 8th avenue NY NY
Subways: A to Port Authority 42nd Street
Hosted by Vangeline Theater / firstname.lastname@example.org
This 6-hour workshop focuses on butoh in performance, including a lecture by Vangeline with Q&A with practical advice on how to perform butoh. What are the pitfalls? Problem commonly faced?
Come with all your questions and bring one costume to work with!
Vangeline draws on more than 15 years of experience as a Butoh teacher and Butoh performer. She is the winner of the 2015 Gibney Dance's Beth Silverman-Yam Social Action Award, and the founder of the 10-year running, award-winning program “Dream a Dream Project", which brings Butoh dance to incarcerated men and women at correctional facilities across New York City. Recent invitations include a creative residency in 2016 at Princeton University (Princeton Atelier).
This unique training is an invaluable tool for dancers, actors, adult beginners, encouraging participants to open up and expand physically and energetically. This workshop creates a gentle and supportive environment to start an individual and collective process of investigation through creative movement.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council as well as the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.
Butoh workshop with Butoh Master Tetsuro
Fukuhara in New York
Hosted by New York Butoh Institute
TOKYO SPACE DANCE - TETSURO FUKUHARA
Thursday, November 9, 6-9pm
Friday, November 10, 6-9pm
Saturday, November 11, 6-9pm
Sunday, November 12, 1-6pm
307 West 43rd Street corner of 8th Avenue in Manhattan
ENROLL HERE FOR 4 DAYS - $305:
· Thursday, November 9, 6-9pm -$55
· Friday, November 10, 6-9pm -$55
· Saturday, November 11, 1-6pm $110
· Sunday, November 12, 1-6pm $110
Payments are non refundable, non transferable
Discount for Students with hearing disabilities: 4 days: $150
Single days Students with hearing disabilities ( Students are welcome to enroll for single days only): Thursday, November 9, 6-9pm $30; Friday, November 10, 6-9pm $30; Saturday, November 11, 6-9pm $45;Sunday, November 12, 1-6pm $45
Contact email@example.com for payment links on single days – we also accept checks and cash.
Tetsuro Fukuhara is a choreographer, a writer, and a director of Tokyo Space Dance.
His first teacher was Akira Kasai, he was very surprised with a new way of Butoh as a dance technique. Kazuo Ohno taught a way how to enjoy Butoh. At last Tatsumi Hijikata suggested to him one special mission which he should develop as an artist. Hijikata's teaching was most important for him. He have developed Butoh as an improvisation dance and he carries on Butoh as New Butoh Space Dance.
On 1970-1975, He studied Improvisation Butoh dance from Akira Kasai. He belongs to the second generation of Butoh. On 1975, He started his own works in Tokyo. On 1983, He joined "Story of Seven Herbs" directed by Tatsumi Hijikata, then he founded Tokyo Space Dance. On 1990, He made his debut in Paris and Berlin supported by the Japan Foundation.
Fukuhara has launched abroad and formed a network overseas since 1990. He is making an effort to establish a new dance without being limited to Japanese Butoh in partnership with foreign cooperators supported by the Japan Foundation, Japanese Ministry of Foreign Affairs, Canada Council and several foreign foundations.
Meanwhile, he tackles the production of socialization of art and social development program in and out of country. On 1994 he was acquainted to Theory of Affordance in the field of cognitive science through artist Shusaku Arakawa who made a space, a park, and a house without a flat surface only with a slope. When hedanced into Shusaku's space named "Site of Reversible Destiny, Yoro" in Okayama, Japan, a new idea of Space Dance burst upon him.
Then he has started a project called "Space Dance" as a collaboration with "Dance + Architecture + Information + Design" by the cooperation with dancers, artists, scientists, technicians and researchers. On 1998, He made "Digital Space Dance" supported by Japanese Ministry of Trade and "Behaviors in the Computer Space" supported by Japanese Ministry of Education.
On 2000 - 2003, His appearances at many international cultural events such as "Space Dance Performance and Lecture" at Massachusetts Institute of Technology Media Laboratory in Boston, at the United Nations in New York, at the media art festival "ISEA 2002" in Nagoya, and at several foreign locations were praised for theirtremendous impact on audiences. "Space Dance" is not only a new dance art but also a new design movement that is part of new cultural movements in the 21st century. Fukuhara was a lecturer at Musashino Art University on 1997 - 2001, Kantogakuin University on 2001 - 2003.
Between 2004 - 2006, his "Space Dance, Someday in the Universe" research was published as a representative researcher in collaboration with The Japan Aerospace Exploration Agency in Tokyo. He also joined the "7th Space & Arts Workshop" supported by the European Space Agency and LEONARD in the Netherlands. Fukuhara continues to teach Space Dance at many universities around the world to develop new talented students. In 2006 in "UNESCO Prise for Digital Arts", "Space Dance in the Robotic Universe" was selected in Monaco as one of "20 Project in the World".
On 2007 in Tokyo, Fukuhara made news by holding "Space Dance in the Tube" at Hoya Primary School with 440 students and Tama Science Museum . In Praha, he joined the International Conference "MutaMorphosis: Challenging Arts and Sciences" supported by CIANT and LEONARD.
On 2008 a book of "Space Dance" by Tetsuro Fukuhara was published by Shunju-sha publishing company in Tokyo. And, on 2009, "Space Dance in the Tube" was hold at Bangkok and Kampala at the Patravadi Thearter and the National Theatre supported by the Japan Foundation, Japanese Emabassies, JICA, and the United Nations Uganda Office. We can see its news on "Bangkok Post" as "REDISCOVERING THE BODY"
On 2010-2013, "Space Dance in the Tube" was hold in Hiroshima, Tokyo, Kawaguchi, Kamakura, New York, Kampala, Nairobi, Paris, London, Braunchweig, Milano, Roma, Frankfurt, Istanbul, Nara, Nagoya, Inabe, Yokohama, Niigata, Fukui, Kagawa, Kochi, Santiago, Havana, Mexico City, Osaka, Kyoto, Mito, Kofu. Space Dance Project was a talk of the town and TV and news papers(ASAHI News Papers・South China Morning Post<1>・South China Morning Post<2>・YAMANASHI News Papers). On July 20-August 25 2013, during 37 days, at Yamanashi Prefectural Science Center 38,000 people come to enjoy Space Dance.
The definition of Butoh by Tetsuro Fukuhara is like the below;
Butoh is “a step from within“.
Butoh is “self-realization” though the body of the individual, direct, original dance technique.
Butoh is “a recovery of the wild in mankind and a rebirth of the body” intoxicated somehow lost in the contemporary world.
Butoh is an art which promotes us growth, and keeps the age-worthy flower blossoming continuously.
Everybody can develop their own Butoh as much as they receive their own body.
What is a pleasure of a dance? Sure, it is a pleasure to change our feelings about our world at the moment. In this dance feelings we can not find any differences between ourselves, we feel we are connected to everyone and everywhere. So a dancer dance eternally to get this feelings.
Also, as 21st dance history, we have a big theme to develop “a mature dance together with our age” using by new dance technique. If we should retire after a definite age, for example after 30 ages or after 40 ages, we should say its dance belongs to the old art system. In Butoh the maturity will be important, for us “the tacit knowledge” which we keep in our body in our life is most important treasure. We can develop our dances on the basis of this tacit Knowledge.
The definition of Space Dance by Tetsuro Fukuhara is like the below;
In Space Dance, the body is not a tool for expressing a story, the body is a story.
In any time the excellent dancer in the world keeps the ability to dance with a special dance technique to organize the body as the object, not as the subject. In Space Dance we study this dance technique. Then we try to recover the memory beyond human history through our dance and we accumulate its result as the tacit knowledge about the body.
Our feet always are connected with the ground. Our human in our daily life forget this fact. But when we dance with a dance technique to organize our body as the object, the relationship between our feet and the grand will be clear and we can get back a familiar feeling between the body and the earth.
In this time when we dance with the earth we can recognize some strange new feeling happen around the temporal lobe of our brain. Why? New feeling? Because it is a first experience for our brain to move our body with such a strange new way.
Our brain keeps all memories about all life on our earth. Because our brain into the Mother’s womb during 10 months grow up through the process of evolution of the brain from the beginning to today’s human brain. So, in our dance movements too, sometime we can find other strange movements of all life through these memories.
So in Space Dance when we try to dance to organize our body as the object we can touch several “forgotten memories” sometimes with a wave motion of the internal organs, sometimes with a sound of the bone, and sometimes with an excitement of the nerve. In that time we can feel a new feeling in our brain and “bone space“, then under this influence we can find the unexperienced movements by chance. In short we can stimulate several “forgotten memories“.
“forgotten memories” wake up a strong nostalgia in our mind. And this nostalgia gives new energy to us. Then we understand “new unknown movement’s world” exists behind our usual human movements.
This energy continue without end. When we dig up “forgotten memories” we can organize the unexpected movements based on each memories. We shake with its freshness and we are amazed by ourselves. Then we start to talk a new story beyond the human drama.
Usually, very soon, our human feel tired in our movements without this energy. But when we house this energy we get the lasting energy from the circulation between the body and the ground, then it arise like the growth of a snowball. We never feel tired.
Like that in Space Dance we dig up “forgotten memories” and we expand “new unknown movement’s world”, then we try to express “new unknown movement’s world” as “history of postures evolution with fish, amphibia, bird, and monkey“. We can describe that “history of postures evolution” had started from a ameba without hands and feet. Then now “History of Postures Evolution” meets one peak by human with a bipedal walker.
Why “history of postures evolution” is important for Space Dance? Because the purpose of Space Dance is the looking back on the past of all life, then the creation for “future of human body” as a return from its retrospection.
Then in Space Dance we make a visualization of “history of postures evolution” as the images. And we make an information of “new unknown movement’s world” as the tacid knowledge using by information technology. Finally we try to make a design through the tacid knowledge for the new body, the new object, and the new space.
Like that, in Space Dance we can create the new designs after our dance. For these works we adopt the collaboration by “dance + architecture + information + design“. Then, Space Dance is just a work of “Dance & Design“.
Thank you for providing a valid email address so we may contact you with information about the workshop.
This fee is non refundable, non transferable.
This program is supported in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council
FOLLOWING BUTOH WORKSHOP:
BUTOH MASTER TETSURO FUKUHARA- NOV 8-12, 2017
MORE INFO HERE