Good Bye Butoh Master Yukio Waguri

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The Butoh community worldwide mourns the passing of Butoh Master Yukio Waguri, who died yesterday in Tokyo, Japan.

A disciple of Tatsumi Hijikata, Waguri was passionate in preserving Founder of Butoh Tatsumi Hijikata' Butoh Fu (Butoh Notations).

Through his effort together with the Tatsumi Hijikata Archives, the publication of of the CD-ROM of Butoh Kaden in 1998, provided an opportunity to examine Hijikata’s method.

 

He will be greatly missed by his colleagues and students.

Good bye and thank you Yukio Waguri!

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Main Performances
1972 Tatsumi Hijikata Performance, 27 Nights for Four Seasons, Shinjuku Theater
1973 Tatsumi Hijikata Performance, A Silent House, Seibu Theater
1974-1978 Hakutobo Consecutive Performance, Asbestos Hall,
1978 Kozensha Performance; Wings of Castle, Three hundred Theater
1990 Human Water, Atelier Fountain
1991 The Blue Pillar, Studio 200
1993 The Story of sun and moon, Seed Hall
1994 Wedding on the Field, Theater X
1995 Sinking Waterfall, P3 ART ENVIRONMENT
1996 Butoh Kaden, Theater X
1997 Ellora, The Dream of the Stone , Park Tower Hall
1998 Release of the Butoh Kaden in CD-Rom, Kinokuniya Hall
1998 Indonesia Art Summit; The Topography of the Fantasy”, TIM
1999-2001 Part-time Lecturer in Waseda University
1999 Public Performance in Lithuania, Australia & Korea
Human Water, Shonandai Cultural Center
2000 Vancouver Dance Festival, Seattle Dance Festival
The Bone of the Ground, Montreal, Agora Theater

2001 Tour to Korea & Indonesia by (Japan Foundation)

2002 Release of the entrust work by RDC in Vancouver
The Topography of the Fantasy, Olibe Hall

2003 Atarashiki Tomoe Keio University Orientation day, Hiyoshi Raiosha
Public Performance in Vancouver, Louis Riel
Dance Festival in Brazil, Wedding on The Field, SESC
NY Dance Festival, Journey of Spirit
An invitation lecturer in Drama Department, Graduate School, Yale University

2004 Journey of Spirit , Keio University Orientation day, Hiyoshi Raiosha
Participated in Yogyakarta Art Festival
Give lessons in The Catholic University of Sao Paulo

2005The Way of Illusion, Keio University Orientation day, Hiyoshi Raiosha
Participated in Asia Tori in Seoul
Participated in Yogyakarta Art Festival
Give lessons in University of Utah
“Dancing Poetic Drama”; The Woman & Shadow, guest performer,
 Okuma Lecture Hall,  Waseda University

2006Participated in CAN.ASIAN.DANCE.FESTIVAL IN TORONTO

2007Commemorative Performance for Establishment of Kazuo Ono Archive,
 Journey of Spirit, Bologna University
Russia Dance Festival,  Journey of Spirit ,  Sankt Peterburg,  Moscow

2008Participated in Kazuo Ono Festival, Centennial Anniversary plan for Japan-Brazil immigration
 Yamanba,  a co-product of Tokiwazu, Japanese traditionalDance
Guest performer, H. Art Chaos’s work Dante, La Divina Commedia
Participated in Japan-Indonesia 50th Anniversary Diplomatic Relation Project

2009Nyoba Kan International Buto Festival,  Kuala Lumpur
Kazuo Ono Festival in Yokohama KINJIKI

2010Contest with Yoshito Ono in [Radioactive Dust] Eiko Hosoe Photograph Exhibition, Jissoji Shoin
Nyoba Kan International Buto Festival,  Kuala Lumpur
NY-CAVE Dance Workshop Collaboration
KohzenshaDance Performance,  Labyrinth of body,  Nippori SanyHall

2011 MarchPublic Dance Performance in China,  Journey of Spirit
performed in The Nine Theater in Beijing, organized by Japan Foundation
Public Dance PerformanceTransformation,  Bali
The tour in USA [Chicago,Soltlakecity,NYC. Boulder]
Water Moon in Malaysia ,Bangkok

2012.  Performance [Journey of Spirit] CHILE Butoh FestivalSantiago,
        Butoh workshopat HongKong, Y space. Macau, Kualarumpur.
        Performance [Sick Princess] Kazuo Ohno Festival At Yokohama.
        Performance [Journey of Spirit] Barcelona Butoh Festival

2013. Performance [Francis Bacon] National Museum of Modern Art of Tokyo Toyota shi Museum Performance [Ryu Chai Chi I] Kuaralumpur. HongKong.
          Taiwan [gaoshun/Taipei]  Macau fringe festival.

2014. Lecture and performanceNational Institute od dramatic art[Sydney]  Workshop and performance SESC Paurista [Sao Paulo]
        Workshop[Hong Kong/Y-space]  Performance {Shiya}  [Kualalumpur]
 

 

http://www.otsukimi.net/koz/e_bk_seven.html

 

 

 

 

 

 

 

 

New York Butoh Institute on Research Trip in Japan

The New York Butoh Institute is on a research trip in Japan. Vangeline is conducting interviews for her upcoming book on Butoh, to be published in 2018.

Interview today in Tokyo by Vangeline for Vangeline Theater / New York Butoh Institute with Legendary photographer Eikoh Hosoe, a contemporary of Hijikata Tatsumi and Writer Mishima. August 11, 2017. Photo Azumi Oe.

Interview today in Tokyo by Vangeline for Vangeline Theater / New York Butoh Institute with Legendary photographer Eikoh Hosoe, a contemporary of Hijikata Tatsumi and Writer Mishima. August 11, 2017.

Photo Azumi Oe.

Interview with Eikoh Hosoe /Vangeline - Photo Azumi Oe. August 11, 2017.

Interview with Eikoh Hosoe /Vangeline - Photo Azumi Oe. August 11, 2017.

Vangeline and Mr. Morishita, Director of Tatsumi Hijiakata Archives, August 10, 2017- Photo Azumi Oe.

Vangeline and Mr. Morishita, Director of Tatsumi Hijiakata Archives, August 10, 2017- Photo Azumi Oe.

Mr. Morishita, Vangeline, Azumi Oe and Shoshana Green at the Tastumi Hijikata Archives, August 10th, 2017.Photo Azumi Oe.

Mr. Morishita, Vangeline, Azumi Oe and Shoshana Green at the Tastumi Hijikata Archives, August 10th, 2017.Photo Azumi Oe.

Interview with Yoshito Ohno, August 13, 217 with Vangeline in Yokohama - Photo Azumi Oe

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Vangeline on Elemental Podcast - Extra: Effort

Art matters. But why? A podcast series investigating the elements needed for artistic expression in an urgent political climate. We talk. And listen. The prequel to Season 1 premieres December 4, 2016. Season 1 proper premieres January 22, 2017.

Vangeline, Artistic Director of Vangeline Theater and founder of the New York Butoh Institute discusses the importance of balance, impact, and effort. Her recent piece Wake Up and Smell the Coffee used upwards of 1000 used coffee cups collected around New York City to address the waste we generate and our loss of effort in the need to address the issue.

EXTRA: EFFORT by ELEMENTAL is licensed under a Creative Commons License.


LISTEN TO VANGELINE ON ELEMENTAL PODCAST ON : https://www.elementalcast.com/

Photo Benjamin Heller _ Vangeline Theater - Wake Up and Smell the Coffee

Photo Benjamin Heller _ Vangeline Theater - Wake Up and Smell the Coffee

Interview with Paul Barlett (CUNY) about Wake Up and Smell the Coffee on WBAI

Listen to Environmental Scientist and activist Paul Barlett (CUNY) speak about Art and Activism, our upcoming show Wake Up and Smell the Coffee, Vangeline Theater, the Living Theater, and learn how butoh and coffee trash connect.

This interview was conducted by Earth Mum on her show:

Morning Eclectic

Sat, Apr 15, 2017   6:00 AM

http://wbai.org/upcomingprogram.php?upcomingid=2751

Vangeline Theater launches eco friendly campaign #myclimateaction

Americans love coffee. But our love affair with coffee comes at a cost. Most people think these disposable coffee cups are recyclable. They're wrong.Would it surprise you that it actually has lots of plastic actually in the lining of the cup? Coffee cups don't biodegrade, and they're piling up in landfill where they become a major pollution hazard.  A lot of plastic ends up in our water sources.

50 billion paper cups end in U.S. landfills every year because they can't be recycled.


This is a WAKE UP CALL FOR COFFEE LOVERS. So at Vangeline Theater, we are starting a campaign and show called Wake Up and Smell The Coffee.
We went around New York and collected 1000 used cups from the garbage. And we will dance in a set made of these cups April 20-22nd at Triskelion Arts.
Join us and WAKE UP - BUY A REUSABLE MUG TODAY.

And come see our show next April!
http://www.vangeline.com/calendar-of-upcoming-events/2017/4/20/wake-up-and-smell-the-coffee-2017-vangeline-theater

Vangeline choreographs serpentwithfeet new music video- butoh in four ethers

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We are incredibly proud to share with you this new music video featuring an artist who will take the world by storm: Serpentwithfeet. Vangeline was thrilled to choreograph this music video "four ethers" and coach this very talented artist. Our friend Timothy Saccenti directed this very beautiful and movingwork.

Stereogum says:

"serpentwithfeet was already named one of the Best New Artists Of 2016 on the strength of his enthralling blisters EP, a stunning work that blended elements of R&B, gospel, chamber-pop, and electronic music into one dark, unclassifiable mist. And now he’s given that sound some visuals, teaming up with directors Timothy Saccenti and Alvin Cruz, aka CRUDO, to make a music video for EP track “four ethers” inspired by the Japanese avant-garde dance form of Butoh. Watch below.

Butoh Beethoven- Eclipse- receives outstanding review (NY)

Butoh Beethoven: Eclipse

Choreographed, Conceived and Performed by Vangeline
Produced by Vangeline Theater

Off Off Broadway, Dance
Runs through 10.31.16
Producer's Club, 358 West 44th Street

by Taylor Black on 10.29.16

BOTTOM LINE: Vangeline's virtuosic solo performance will make your skin crawl in the best way possible, conjuring the ghosts of tortured geniuses Beethoven and Tatsumi Hijikata and bringing Butoh into the 21st century with technical marvels and masterful skill.

In trying to describe Vangeline’s virtuosic solo Butoh Beethoven, I keep returning to the film A Clockwork Orange, where the protagonist Alex adores the sensuous music of “Ludwig Van” as a backdrop to his ultra-violence, only to later lash out at the Ninth Symphony’s use in his aversion torture as “a sin!...Ludwig Van never hurt anyone, Beethoven just wrote music.”

The analogy between the film and Butoh Beethoven seems perfect: an all-white aesthetic coupled with a revolting, crawling, insectile feel and a complex critique of violence and the disconnect of the modern world, with all this ickiness set to Beethoven’s gorgeous, melodious symphonies. And Vangeline herself has a stated goal: to “bring Butoh into the 21st century” through a connection to film aesthetics, technology, and the trials of the modern age. But it seems that perhaps Vangeline knows something the protagonist of Kubrick’s film misses: that a piece of music does far more than simply exist, and can be violent, glorious, and wracked with history, a secret the Butoh form of dance knows well.

As the postscript “Admiring Tatsumi Hijikata” suggests, Vangeline conjures the ghost of one of the originators of Butoh, who helped to found the discipline in the wake of World War II and the bombing of Hiroshima. Living in this aftermath, Hijikata’s dance form conjures the spectral realm of suffering to explore the darkness within. Butoh dance is described as much by its absence as anything, and Vangeline follows the path of darkness in dancing the absence of these two ghostly, larger-than-life figures. Built from emptiness, darkness, and creepiness, Butoh Beethoven admires Beethoven and Hijikata by simmering in the hole their legacy leaves behind.

In the first act, Vangeline enters a dark stage with a pulsating, siren-like heart of light, strobing through the darkness for Hitchcock-creepy stage pictures. With the signature interminable slowness of Butoh movement, the piece transitions into Vangeline, an LED conductor’s baton, and infinite silence. As the lights come up the piece transitions into Beethoven’s "Fifth Symphony," as Vangeline conjures the spirit of Ludwig Van himself in a corpselike, tortured grotesque form. The figure proceeds to conduct the orchestra through the first movement, in fitful and captivating moves, though it is difficult to tell who is conducting who as Vangeline both initiates and responds to the musical cue, her face twitching through expressions equal parts orgasmic and agonized.

The soundscape is more than just the "Fifth Symphony" though, incorporating the coughs and shuffling of a recorded audience that brings the music back down to Earth in humbling Butoh fashion. The soundscapes merge the everyday with the epic, echoing the Butoh form’s focus on bringing the movement of ordinary labor, pain, and ugliness onto the stage. Todd Thomas’ costume hangs with endless shirtsleeves, behaving almost like a second conductor as Vangeline swings in wide arcs, perhaps taking an anachronistic jab at the role of the conductor’s hands. The lighting effects are truly stunning, featuring clever use of LED props and costumes that enable the body to act as light in fascinating and innovative ways.

In Act II, "Eclipse," Vangeline becomes a ghostly harbinger of the future, bringing light and darkness together to the world. The surprising co-star here is the costume and stage design. Tilen Sepic and French design company LumiGram collaborate beautifully to create the out-of-this-world stage pictures of Act II, where Vangeline herself is the only light onstage. It is in this piece especially that Vangeline’s homage to Hijikata merges with the trials of the 21st century. In slow, almost traditional movements, the figure fills with fiber optics as the sounds of communication swirl around, making the endless speed of the digital into a slow-moving flesh as Vangeline presents her Eclipse. A being of pure light and time, Eclipse is a trance-like exploration of the tension between slowness and infinite speed.

Watching Vangeline undergo these slow, rapt transformations, it is easy to forget how incredibly physically demanding this movement can be, and she has the control and poise of a true master of Butoh in this 60-minute feat of solo endurance. She is elegant in her ugliness and redemptive in her pain, and the effect is transforming. Butoh Beethoven is a difficult, weird, and uncomfortable piece to watch, but for precisely that reason it is incredibly moving and powerful. It is clear that Vangeline is an artist who knows the darkness of Butoh well, and has the incredible skill to make that darkness dance.

LINK TO REVIEW