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ɪˈreɪʒə (Erasure) with Vangeline

Vangeline Theater/ New York Butoh Institute


ɪˈreɪʒə (Erasure)

with butoh dancer Vangeline

Photo by Michael Blase

Photo by Michael Blase


THURSDAY, MAY 16, 2019

FRIDAY, MAY 17, 2019

SATURDAY, MAY 18, 2019

8 PM

SUNDAY, May 19 at 3pm


Theater for the New City (Johnson Theater)

155 First Avenue

NY NY 10003


Vangeline, with her controlled flow of energy and compelling energetic shifts, obliges a depth of concentration that nullifies time.
— The Ballet Review

ɪˈreɪʒə (Erasure) is the second installment of a performance triptych by butoh artist Vangeline. The 60-minute solo explores butoh techniques of erasure, as well as the phenomenon of female erasure taking place in our society.

Vangeline states: “With this piece, I summon up the spirits of women who came before me. Women are the forgotten of history. We have been silenced, erased from memory; even our names have been erased, while famous men were laid in the Pantheon for posterity. How many women writers, artists, scientists are there, whose names we will never know or remember? Through the magic of Butoh, I will “erase” myself, and give space for women to come back and dance through me.”

ɪˈreɪʒə (Erasure) will take place between May 15-19, 2019 at the beautiful, spacious and historic Theater for the New City in the East Village, and will feature new choreography, costume, lighting and music.

Butoh has often explored techniques of self-erasement, and butoh dancers aim at reaching a form of “emptiness”. For the first time in butoh’s history, this phenomenon will be put to the test. The rehearsal process will be scientifically recorded with the help of MUSE 2, a device capable of recording brain wave activity.

With ɪˈreɪʒə (Erasure) , Butoh meets feminism and neuroscience and continues to take a place of relevance in the 21st century.

Photo by Michael Blase

Photo by Michael Blase

VANGELINE THEATER/ NEW YORK BUTOH INSTITUTE aims to preserve the legacy and integrity of Japanese Butoh while carrying the art form well into the future. The unique art of Butoh originated in post-World War II Japan as a reaction to the loss of identity caused by the westernization of Japanese culture, as well as a realization that ancient Japanese performing traditions no longer spoke to a contemporary audience. One of the major developments in contemporary dance in the latter half of the 20th century, Butoh combines dance, theater, improvisation and influences of Japanese traditional performing arts to create a unique performing art form that is both controversial and universal in its expression. The Vangeline Theater is home to the New York Butoh Institute, dedicated to the advancement of Butoh in the 21st century.

About Vangeline

Vangeline is a teacher, dancer, and choreographer specializing in the Japanese postwar avant-garde movement form Butoh. She is the artistic director of the Vangeline Theater (New York), a dance company firmly rooted in the tradition of Japanese Butoh while carrying it into the 21st century, and the founder of the New York Butoh Institute.

Vangeline's work has been heralded in publications such as the New York Times (“captivating”), Los Angeles Times, (“moves with the clockwork deliberation of a practiced Japanese Butoh artist”) and LA Weekly to name a few. More recently her solo Butoh Beethoven: Eclipse received critical acclaim from the Ballet Review.

With her all-female dance company, Vangeline’s socially conscious performances tie together butoh and activism. Vangeline is the winner of the 2015 Gibney Dance's Beth Silverman-Yam Social Action Award. Film projects include a starring role alongside actors James Franco and Winona Ryder in the feature film by director Jay Anania, 'The Letter (2012-Lionsgate); she has performed with/for Grammy Award Winning artists SKRILLEX and Esperanza Spalding. She is the author of a forthcoming book about butoh.


Vangeline talks about butoh and feminism, and common misconceptions about butoh.

Photos by Michael Blase

Publicity by Michelle Tabnick


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.