{"id":12777,"date":"2009-10-15T15:40:44","date_gmt":"2009-10-15T18:40:44","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=12777"},"modified":"2010-06-01T22:56:28","modified_gmt":"2010-06-02T01:56:28","slug":"ohno-um-filosofo-que-danca-para-sempre","status":"publish","type":"post","link":"https:\/\/idanca.net\/ohno-um-filosofo-que-danca-para-sempre\/","title":{"rendered":"Ohno, um fil\u00f3sofo que dan\u00e7a \/ Para sempre | Ohno, a philosopher who dances \/ Forever"},"content":{"rendered":"

Dia 27 de outubro, o core\u00f3grafo japon\u00eas Kazuo Ohno completa 103 anos. Em homenagem \u00e0 data e \u00e0 import\u00e2ncia do trabalho de Ohno – ele \u00e9\u00a0 um dos precursores do butoh – o idan\u00e7a<\/strong> traz dois textos publicados originalmente na revista <\/span>Obscena<\/span><\/a>, nossa parceira. O primeiro deles, escrito por John Barret, traz uma interessante biografia de Ohno. E o segundo, de Tiago Manaia, fala da influ\u00eancia do core\u00f3grafo no trabalho da banda Antony & the Johnsons. Confira os dois abaixo. Ao final da leitura, clique aqui<\/a> e aproveite para assistir a um trecho de <\/span>The dead sea<\/strong><\/span><\/em>, de 1985, publicado pelo idan\u00e7a<\/strong> em abril de 2008.
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Detentor de um estilo de movimento raro, gracioso e tamb\u00e9m enganadoramente simples, <\/em>Kazuo Ohno, mais do que dan\u00e7ar, simboliza uma filosofia sobre os limites do corpo. Retrato de um homem que apelidaram de \u00e1rvore.<\/em><\/span><\/p>\n

Texto de John Barret<\/span><\/p>\n

Kazuo Ohno, o artista japon\u00eas de butoh, est\u00e1 a poucos meses de celebrar o cent\u00e9simo terceiro anivers\u00e1rio, a 27 de outubro. Enquanto cidad\u00e3o e artista, Ohno tem sido contempor\u00e2neo dos eventos que de forma mais incisiva marcaram a hist\u00f3ria recente do Jap\u00e3o: o terramoto em Kanto (1923), a Guerra do Pac\u00edfico (1937-45), as bombas at\u00f3micas largadas em Hiroshima e Nagasaki, a ocupa\u00e7\u00e3o americana (1945-51), os altos e baixos que sucederam o milagre econ\u00f3mico dos anos 60.<\/span><\/p>\n

At\u00e9 2004, ano em que se retirou dos palcos, cada aparecimento seu conduzia o corpo humano at\u00e9 aos seus limites. Hoje, e apesar do nevoeiro do Alzheimer, Ohno continua um verdadeiro filho-do-teatro. Talvez o seu \u00faltimo desejo seja morrer em palco, rodeado dos fantasmas dos seus t\u00e3o queridos amigos, da sua m\u00e3e e La Argentina.<\/span><\/p>\n

Nascido a 27 de outubro de 1906 em Hokkaido, a ilha do Jap\u00e3o mais a norte do arquip\u00e9lago, Ohno \u00e9 filho mais velho de um pescador e de uma m\u00e3e a quem era particularmente apegado. Embora dotada de grande sensibilidade art\u00edstica, a sua m\u00e3e teve pouco tempo para desenvolver os seus talentos, dedicando a sua vida a cuidar de 10 crian\u00e7as. Embora tenha sido, profissionalmente, professor de educa\u00e7\u00e3o f\u00edsica de profiss\u00e3o, Ohno iniciou as suas aulas de dan\u00e7a ao deslocar-se para Tokyo, no in\u00edcio dos anos 30.<\/span><\/p>\n

Baptizado em 1931, tornou-se um membro activo da igreja Anabaptista e foi um crist\u00e3o devoto desde ent\u00e3o. Depois de ser mobilizado, em 1938, passou os sete anos seguintes em diferentes frentes de guerra, onde, como capit\u00e3o no comando de mantimentos, entrou em contacto com a inumanidade e carnificina dos homens quase diariamente. No rescaldo da capitula\u00e7\u00e3o japonesa no fim da Guerra do Pac\u00edfico, foi internado pelas for\u00e7as australianas na Nova Guin\u00e9. Sobre o seu repatriamento em 1946 resumiu o seu posto como professor de gin\u00e1stica na Escola Feminina Anabaptista Soshin, em Yokohama, l\u00e1 permanecendo l\u00e1 at\u00e9 \u00e0 sua reforma em 1980.<\/span><\/p>\n

Paralelamente \u00e0 sua carreira de professor, Ohno criou uma s\u00e9rie de performances que produziram um efeito s\u00edsmico no mundo da dan\u00e7a japon\u00eas. Durante os anos 60 foi um participante activo no pr\u00f3spero movimento do butoh, colaborando regularmente com Tatsumi Hijikata, outra figura de particular peso na vanguarda japonesa. Foi por esta altura que come\u00e7ou tamb\u00e9m a dar \u201cworkshops abertos\u201d no est\u00fadio de ensaio que construiu com as suas pr\u00f3prias m\u00e3os no sub\u00farbio Yokohama de Kamihoshikawa. Em alguns aspectos, Ohno era mais um fil\u00f3sofo do que um professor de dan\u00e7a, e os seus workshops convocavam pessoas com distintos modos de vida. N\u00e3o era incomum que os alunos se colocassem mais perguntas ao abandonarem a aula do que antes de terem colocado um p\u00e9 no est\u00fadio.<\/span><\/p>\n

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Curiosamente para um bailarino, a carreira de palco de Ohno apenas levantou voo no fim dos anos 40, altura em que estava j\u00e1 nos seus jovens quarentas \u2013 idade em que, nos c\u00edrculos da dan\u00e7a ocidental, os bailarinos contemplam a reforma. No Jap\u00e3o n\u00e3o \u00e9 invulgar um artista de dan\u00e7a tradicional continuar a actuar at\u00e9 aos 80. O seu primeiro recital a solo p\u00fablico em Tokyo, em 1949, lan\u00e7ou uma carreira que continuou sem cessar at\u00e9 aos tardios anos 60.<\/span><\/p>\n

O que se seguiu foi um hiato de 10 anos, vagueando pelo deserto das sortes, per\u00edodo durante o qual passou por uma profunda transforma\u00e7\u00e3o tanto na sua abordagem \u00e0 dan\u00e7a como na vida. O seu regresso deu-se em 1977 com a performance Admirando La Argentina<\/em><\/strong>, que aliava hist\u00f3ria privada e epis\u00f3dios fantasmag\u00f3ricos, numa estrutura inesquec\u00edvel de grande dor, arg\u00facia e j\u00fabilo. At\u00e9 ent\u00e3o Ohno n\u00e3o tinha sido alvo de reconhecimento universal mas, em 1980, quando a apresenta a uma enorme e receptiva audi\u00eancia no Festival Internacional de Nancy, o mundo \u00e9 alertado para o estouvado g\u00e9nio de Kazuo Ohno. Foi a primeira de uma s\u00e9rie de cria\u00e7\u00f5es dedicadas \u00e0queles por quem que se sentia em d\u00edvida. Como o t\u00edtulo sugere, esta pe\u00e7a \u00e9 uma homenagem a Antonia Merc\u00ea y Luque (1890-1936), mais conhecida como La Argentina, provavelmente a bailarina espanhola mais celebrada do s\u00e9culo XX, e que Ohno viu actuar em Tokyo, em 1929. Ao mesmo tempo que, e em certa medida, Admirando La Argentina<\/em><\/strong> pode ser considerado como um poderoso retrato da sua musa pessoal, \u00e9 tamb\u00e9m altamente confessional, e assinala a sua regenera\u00e7\u00e3o espiritual depois de quase uma d\u00e9cada de deserto.<\/span><\/p>\n

Detentor de um estilo de movimento raro, gracioso e tamb\u00e9m enganadoramente simples, Kazuo Ohno perseguia implacavelmente a verdade e expia\u00e7\u00e3o nas suas improvisa\u00e7\u00f5es de palco e nas conversas com os seus alunos dos workshops. As suas performances s\u00e3o famosas pela espontaneidade, humor e qualidades sombrias e, por vezes, at\u00e9 pela frieza da sua intensidade. Ele n\u00e3o exige um espa\u00e7o vasto, nem prop\u00f5e a cria\u00e7\u00e3o de um universo, ele f\u00e1-lo simplesmente por permanecer im\u00f3vel, nunca parecendo pertencer a um espa\u00e7o ou tempo particulares. O tempo e espa\u00e7o ganham vida pela pura for\u00e7a da sua presen\u00e7a. Alguns bailarinos, tal como Ohno, tornam-se tenazes com o medo e a escravid\u00e3o, a fragilidade, o amor e a falha. Em todas as suas performances, Ohno procura provocar um volte-face emocional no modo como o seu p\u00fablico responde \u00e0 vida, \u00e0 morte e aos que os rodeiam. Um princ\u00edpio central do seu trabalho \u00e9 a ideia que a dan\u00e7a deve conduzir, de igual modo, o bailarino e o espectador a questionarem-se acerca do modo como conduzem as suas vidas, individual ou colectivamente.<\/span><\/p>\n

Uma dan\u00e7a humana<\/span><\/strong><\/p>\n

Em nenhum outro lugar a filosofia de vida de Ohno se torna mais aparente do que em\u00a0 A minha M\u00e3e<\/em><\/strong> (1981). A\u00ed, ele abre um t\u00fanel sob a no\u00e7\u00e3o convencional da dan\u00e7a enquanto exerc\u00edcio coreogr\u00e1fico. Existindo algures no interior de um universo imagin\u00e1rio, a brilhante atmosfera desta pe\u00e7a, repleta de momentos de nostalgia e melancolia, oferece a Ohno uma plataforma para desnudar a sua alma, uma alma atormentada por v\u00e1rias camadas de culpa. A sua m\u00e3e retorna \u00e0 vida enquanto ele graceja no palco com uma pequena mesa de servir. Todas as suas cria\u00e7\u00f5es s\u00e3o desenhadas a partir da sua experi\u00eancia pessoal. A sua vida \u00e9 o tema da sua dan\u00e7a. Subjacente a um profundo sentido de perda, o que permeia esta pe\u00e7a \u00e9 o facto da trag\u00e9dia n\u00e3o ser estranha \u00e0 sua vida: a sua m\u00e3e testemunhou o perecer de dois dos seus filhos antes destes poderem chegar \u00e0 idade adulta: a irm\u00e3 mais nova de Ohno morreu na rua atropelada por um carro, e o seu irm\u00e3o beb\u00e9 morreu nos seus bra\u00e7os. A perda \u00e9 de novo o tema de uma outra performance memor\u00e1vel, O Mar Morto<\/em><\/strong> (1985), desta vez a do seu pai.<\/span><\/p>\n

Dentro da aparente loucura e excentricidade teatral de Ohno jaz uma enorme humanidade. Contrariamente a muitos artistas contempor\u00e2neos, Ohno dificilmente se preocupa com o drama do indiv\u00edduo isolado. Na sua perspectiva, nascemos todos neste e deste universo, e, como tal, h\u00e1 inexor\u00e1veis limites entre um e outro. Ele acredita fervorosamente que os la\u00e7os m\u00fatuos entre a individualidade do ser humano e o mundo animal s\u00e3o invenc\u00edveis. Ohno \u00e9 o artista da simbiose. E, igualmente, em forte contraste com muitos dos seus contempor\u00e2neos, sejam bailarinos de butoh ou outros, Ohno alegremente conduz os membros do p\u00fablico em direc\u00e7\u00e3o \u00e0 redescoberta da sua comum humanidade. A sua \u00faltima preocupa\u00e7\u00e3o \u00e9 que o espectador se erga no final de uma performance sentindo-se verdadeiramente grato por estar vivo.<\/span><\/p>\n

Ele n\u00e3o \u00e9 embara\u00e7osamente emocional nem faz tro\u00e7a do sentimentalismo. A sua abordagem \u00e9 directa, a sua arte arguta; n\u00e3o estranha \u00e0s nossas atribula\u00e7\u00f5es quotidianas, Ohno n\u00e3o tenta dissimular as suas fragilidades. Em qualquer dos casos, acentua as nossas insufici\u00eancias. Os figurinos de Ohno em palco s\u00e3o cortados das mesmas roupas que as da sua m\u00e3e. E Midori Ohno e La Argentina s\u00e3o figuras positivas, personagens afirmativas, cuja miss\u00e3o na vida foi dar e partilhar.<\/span><\/p>\n

Para apreciarmos totalmente os trabalhos de corpo de Ohno, devemos consider\u00e1-los no amplo contexto da sua evolu\u00e7\u00e3o como ser humano, de modo a que, no seu trabalho, esteja tudo interconectado. N\u00e3o h\u00e1 fronteiras entre o palco e o seu dia-a-dia. Kazuo Ohno n\u00e3o comuta entre a sua casa e o teatro. Intensificando as asas no palco, Ohno invariavelmente carrega consigo a bagagem do dia-a-dia, as frentes de guerra em que combateu, as suas trag\u00e9dias e alegrias pessoais. Nada muda e no entanto nada se mant\u00e9m tal como fora. A sua maquilhagem branca n\u00e3o esconde uma face marcada pela idade, os seus figurinos n\u00e3o camuflam um corpo menos vigoroso ou menos jovem.<\/span><\/p>\n

Adaptado do <\/strong>tex<\/strong>to publicado na revista Ballettanz XX, a quem se agradece a ced\u00eancia. Tradu\u00e7\u00e3o do ingl\u00eas: Virg\u00ednia Mata.<\/strong><\/span><\/p>\n

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Texto de Tiago Manaia<\/span><\/p>\n

\"capa<\/a>

capa 'The crying light' \/ Foto divulga\u00e7\u00e3o<\/p><\/div><\/span><\/p>\n

No outro dia usei a express\u00e3o \u201ccomeback\u201d para me referir ao japon\u00eas Kazuo Ohno, e chamaram-me a aten\u00e7\u00e3o. Disseram-me: \u201cTal express\u00e3o n\u00e3o se pode utilizar no seu caso pois ele nunca chegou a partir\u201d. Usei-a porque no in\u00edcio do ano, os quatro cantos do mundo foram invadidos com imagens do core\u00f3grafo.<\/span><\/p>\n

Antony Hegarty, l\u00edder da banda Antony & the Johnsons, escolheu uma imagem de Kazuo Ohno para a capa do \u00e1lbum The Crying Light<\/em>. A sua escolha explicou-a como uma procura de um longo caminho art\u00edstico e espiritual. Com Kazuo Ohno, dizia \u00e0 revista Les Inrockuptibles<\/em>, aprendeu a encarar as etapas de vida como uma eterna primeira vez. Antony defendia-se assim da expectativa dos que aguardavam o seu regresso depois do \u00eaxito que encontrou com o \u00e1lbum I Am a Bird Now<\/em>. Ohno foi o seu \u00eddolo de adolesc\u00eancia.<\/span><\/p>\n

A imagem utilizada no disco de Antony & the Johnsons de 1977, ainda Ohno dan\u00e7ava. As imagens que s\u00e3o utilizadas nestas p\u00e1ginas s\u00e3o recentes, foram tiradas em novembro de 2008 pelo fot\u00f3grafo e designer de moda franc\u00eas Jacques Le Corre. Nelas, Ohno est\u00e1 acamado, \u201cdans son lit de mort<\/em>\u201d como diz a express\u00e3o francesa.<\/span><\/p>\n

Le Corre tentava h\u00e1 j\u00e1 alguns anos fotografar o core\u00f3grafo. Em 2008 enquanto viajava pelo Jap\u00e3o, entrou em contacto com a fam\u00edlia de Ohno e foi-lhe dada autoriza\u00e7\u00e3o para avan\u00e7ar com o projecto de imortalizar pessoas que admira. N\u00e3o pensava encontrar o core\u00f3grafo no estado em que encontrou.<\/span><\/p>\n

Tinha imaginado uma maquilhagem especial para as fotografias, tinha flores e uma coroa para lhe p\u00f4r nos cabelos. No jardim da casa de Ohno encontrou depois pequenos azulejos feitos pelos netos, fotografou-os para os sobrepor mais tarde sobre as imagens (\u00e9 o efeito que se v\u00ea por cima do rosto de Ohno, na primeira foto) .<\/span><\/p>\n

Jacques Le Corre tornou-se c\u00e9lebre por desenhar chap\u00e9us, por isso pensou naturalmente em fazer um chap\u00e9u com alguns dos elementos que levava para a sess\u00e3o fotogr\u00e1fica. Abdicou desta ideia, devido ao estado d\u00e9bil de Ohno, utilizando somente a coroa . Agora constata que dessa coroa ressai algo de mortu\u00e1rio, mas naquele momento diz ter sentido outra coisa, \u201cera a vida que continuava\u201d \u2013 dizia-nos ao telefone de Paris \u2013 \u201ca morte que se misturava com a vida, e a tornava irreal \u201d.<\/span><\/p>\n

Kazuo Ohno esteve consciente durante toda a sess\u00e3o fotogr\u00e1fica.<\/span><\/p>\n

O core\u00f3grafo viveu o auge da sua carreira tardiamente, entre os 70 e os 90 anos de idade. Diz-se que gostaria de poder morrer em palco. <\/strong><\/span><\/p>\n

O termo \u201ccomeback\u201d n\u00e3o se aplica realmente a Ohno. \u201cPara sempre\u201d, sim.<\/span><\/p>\n

On October 27, Japaneses choreographer Kazuo Ohno celebrates his 103th birthday. In tribute to the date and the importance of Ohno`s work – he is one of the founders of buto – idan\u00e7a brings two texts originally published in Obscena magazine, our partner. The first one, written by John Barret, brings an interesting biography and the second, by Tiago Manaia, deals with the choreographer`s influence in the work of the band Antony & the Johnsons. Check out both perspectives.<\/em><\/span><\/p>\n

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Owner of a rare, graceful and also misleadingly simple movement style, Kazuo Ohno symbolizes, beyond dance, a philosophy about the limits of the body. A portrait of a man nicknamed \u2018Tree\u2019.<\/em><\/span><\/p>\n

Text by John Barret<\/span><\/p>\n

Kazuo Ohno, Japanese butoh artist, is a few months away from celebrating his one hundredth and third birthday, on October 27th. As a citizen and artist, Ohno was contemporary to the events that most deeply marked Japan\u2019s recent history: the Kanto earthquake (1923), the Pacific War (1937-45), the atomic bombs dropped on Hiroshima and Nagasaki , the American occupation (1945-51), the highs and lows that followed the economic miracle of the 1960\u00b4s.<\/span><\/p>\n

Until 2004, the year he retired from the stages, each of his appearances pushed the limits of the human body. Today, despite the Alzheimer haze, Ohno is still a true son of the theater. Maybe his last wish is to die on stage, surrounded by the ghosts of his dear friends, his mother and La Argentina. Born on October 27, 1906, in Hokkaido, the most northern island in Japan, Ohno is the oldest son of a fisherman and a mother he was particularly attached to. Despite having great artistic sensibility, his mother had little time to develop her talents, dedicating herself to the upbringing of ten children. Although professionally he was a physical education teacher, Ohno started his dance classes when he moved to Tokyo, in the beginning of the 1930\u2019s. He was baptized in 1931 and became an active member of the Anabaptist church and has been a devout Christian ever since. After being drafted in 1938, he spent the next seven years in different war fronts, where he served as Captain in charge of provisions and was faced with inhumanity and carnage on a daily basis. In the aftermath of the Japanese surrender in the end of the Pacific War, he was held by Australian forces in New Guinea. Upon his repatriation in 1946, he resumed his position as gymnastics teacher in the Soshin Anabaptist Feminine School, in Yokohama, remaining there until his retirement in 1980.<\/span><\/p>\n

Parallel to his teaching career , Ohno created a series of performances that had a seismic effect on the Japanese dance world. During the 1960`s he was an active part of the prosperous Butoh movement, collaborating regularly with Tatsumi Hijikata, another proeminent figure in the Japanese avant-guard. At this point, he also started to teach “open workshops” in the rehearsal studio he built with his own hands in the Yokohama suburb in Kamihoshikawa. In some aspects, Ohno was more of a philosopher than a dance teacher and his workshops summoned people from different backgrounds. It wasn’t unsual for students to have more questions after leaving the classes than they did before they set foot in the studio.<\/span><\/p>\n

Curiously for a dancer, Ohno`s stage career only took off in the end of the 1940`s, when he was already in the beginning of his 40`s – an age in which dancers usually start thinking about reterement in Western dance circles. In Japan it’s not vulgar for a traditional dance artist to keep performing until his 80`s. His first public solo recital in Tokyo, in 1949, launched a career that continued without interruption until the late 1960`s.<\/span><\/p>\n

A ten year hiatus followed, as he wandered through the desert of luck, a period in which he went through deep transformation, in his approach both to life and dance. His comeback took place in 1977 with a performance entitled Admiring la Argentina<\/em><\/strong>, which combined private history and phantasmagoric episodes in an unforgetable structure of great pain, cleverness and joy. Until then, Ohno had not been a target of universal ackowlegmet, but in 1980, when he performed it for a huge and welcoming audience in the Nancy International Festival, the world became aware Ohno`s reckless genius. It was the first of a series of creations dedicated to those he felt he was in debt with. As the title suggests, this piece is a tribute to Antonia Merc\u00ea y Luque (1890-1936), better known as La Argentina, probably the most celebrated Spanish dancer of the 20th century and who Ohno saw dancing in 1929. At the same time, and to some extent , Admiring La Argentina can be considered a powerful portrait of his personal muse, it is also highly confessional and marks his spiritual regeneration after a decade of solitude.<\/span><\/p>\n

Owner of rare, gracious and also misleadingly simple movement style, Kazuo Ohno relentlessly pursued truth and atonement in his stage improvisations and his conversations with students during the workshops. His perfomances are famous for their spontaneity, humor and dark qualities and, sometimes, even for the coldness of their intensity. He doesn’t demand a vast space, neither does he propose the creation of a universe, he does it by simply remaining still, never seeming to belong to a specific space or time. Time and space become alive with the sheer strength of his presence. Some dancers, such as Ohno, become tenacious with fear and slavery, frailty, love and flaws. In all his performances, Ohno seeks to provoke an emotional U-turn in the way the audience respond to life, death and those around them. A central principle in his work is the idea that dance should conduct, in the same way, the dancer and spectator to question themselves about the way they conduct their life, individually and collectivelly.<\/span><\/p>\n

A human dance<\/strong><\/span><\/p>\n

In no other piece is Ohno’s life philosophy more apparent than in My Mother <\/em><\/strong>(1981). He opens a tunnel under the conventional idea of dance as choreographic exercise. Existing somewhere in the interior of an imaginary universe, the brilliant atmosphere of this play, full of moments of nostalgia and melancholy, offers Ohno a platform to bare his soul, a soul tortured by many layers of guilt. His mother comes back to life as he graces the stage with a small serving table. All his creations are designed upon his personal experience. His life is the subject of his dance. Underlying a deep feeling of loss, what permeated this piece is the fact that he was no stranger to tragedy: his mother witnessed the death of two of her children before they reached adult age, Ohno`s younger sister died on the street run over by a car and his baby brother died in his arms. Loss is again the subject of another memorable piece, The Dead Sea<\/em><\/strong> (1985), about his father.<\/span><\/p>\n

Within Ohno`s seeming madness and theatrical eccentricity lies a great humanity. Contrary to many contemporary artists, Ohno hardly worries about the drama of the isolated individual. From his perspective, we are born in and from this universe and, as such, there are unrelenting limits between one and the other. He passionately believes that mutual bonds between the individuality of the human being and the animal world are invincible. Ohno is an artist of symbiosis. Likewise, in a strong contrast with many of his contemporaries, either butoh dancers and others, Ohno happily conducts the members of the audience towards a rediscovery of their common humanity. His utmost preoccupation is that the spectator leaves the performance feeling actually happy to be alive.<\/span><\/p>\n

He is not embarrassingly emotional nor does mock sentimentalism. His approach is straightfoward, his art is clever; no stranger to every day tribulations, Ohno doesn`t try to mask his vulnerabilities. In any case, he highlights his flaws. Ohno`s stage costumes are made of the same fabric as his mother`s clothes. And Midori Ohno and La Argentina are positive figures, affimative characters, whose mission in life was to give and share.<\/span><\/p>\n

In order to fully appreciate Ohno`s body work, we must consider them within the ample context of his evolution as a human being, in a way that everything is interconnected in his work. There are no borders between the stage and everyday life. Kazuo Ohno does not commute between his home and the stage. Intensifying his wings on stage, Ohno invariably carries the luggage of everyday life, the war fronts he fought, his personal tragedies and joys. Nothing changes and, however, nothing stays the same. His white make-up doesn’t mask a face marked by the years and his costumes don’t hide a less vigourous or less youthful body.<\/span><\/p>\n

This article was adapted from the text published at Ballettanz XX, who we thank.<\/strong><\/span><\/p>\n

::<\/span><\/p>\n

Text by Tiago Manaia<\/span><\/p>\n

The other day I used the expression “comeback” to refer to Japanese choreograpger Kazuo Ohno and someone reproached me. They said: “Such expression does not apply in his case, because he never actually left”. I used it because in the beginning of the year, the four corners of the world were invaded by images of the choreographer.<\/span><\/p>\n

Antony Hegarty, leader of the band Antony and the Johnsons chose an image of Kazuo Ohno for the cover of the album The Crying Light<\/em>. His choice was explained as a search for a long artistic and spiritual path. With Kazuo Ohno, he told the magazine Les Inrockuptibles, he learned how to face life`s stages as an eternal first time. Antony thus defended himself from the expectation that surrounded his return after the success he found with the album I am a bird now<\/em>. Ohno was his teenage idol.<\/span><\/p>\n

The image used in the Antony & the Johnsons is from 1977, when Ohno still danced. The images used in this page are recent, they were taken in November 2008 by French fashion photographer and designer Jacques Le Corre. In them, Ohno is in bed, \u201cdans son lit de mort<\/em>\u201d, as they say in French.<\/span><\/p>\n

Le Corre had tried for years to photograph the choreographer. In 2008 while travelling through Japan, he got in touch with Ohno`s family and was authorized to advance in the project of immortalizing the people he admires. He didn’t think he would find the choreographer in the state he did.<\/span><\/p>\n

He had imagined a special make-up for the photos, he had flowers and a crown to place on his hair. In the garden of Ohno`s house he found small tiles made by his grandchildren and photographed them to later superimpose the images (that’s the effect that can be seen in Ohno`s face in the first picture).<\/span><\/p>\n

Jacques Le Corre became famous for designing hats, that`s why he naturally tought about making a hat with some of the elements que brought to the photo shoot. He gave up on this idea, due to Ohno`s fragile state and used only the crown. Now he realizes the crown would denote something of a mortuary, but at that moment he said he felt something else, “it was life that went on” – he told us over the phone from Paris – “death that was mixed with life and made it unreal”.<\/span><\/p>\n

Kazuo Ohno was conscious during the whole shoot.<\/span><\/p>\n

The choreographer lived the highlight of his career later in life, between his 70`s and 90`s. He said he would like be able to die on stage.<\/span><\/p>\n

The term “comeback” doesn’t apply to Ohno. “Forever” does.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Dia 27 de outubro, o core\u00f3grafo japon\u00eas Kazuo Ohno completa 103 anos. Em homenagem \u00e0 data, o idan\u00e7a traz dois textos publicados originalmente na revista Obscena sobre o artista. Confira os dois pontos de vista!<\/span>
\nOn October 27, Japaneses choreographer Kazuo Ohno celebrates his 103th birthday. In tribute to the date and the importance of Ohno`s work, idan\u00e7a brings two texts originally published in Obscena magazine. Check out both perspectives.<\/span><\/p>\n","protected":false},"author":47,"featured_media":12778,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2,28],"tags":[3457,1416],"yoast_head":"\nOhno, um fil\u00f3sofo que dan\u00e7a \/ Para sempre | Ohno, a philosopher who dances \/ Forever -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/idanca.net\/ohno-um-filosofo-que-danca-para-sempre\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ohno, um fil\u00f3sofo que dan\u00e7a \/ Para sempre | Ohno, a philosopher who dances \/ Forever -\" \/>\n<meta property=\"og:description\" content=\"Dia 27 de outubro, o core\u00f3grafo japon\u00eas Kazuo Ohno completa 103 anos. Em homenagem \u00e0 data, o idan\u00e7a traz dois textos publicados originalmente na revista Obscena sobre o artista. Confira os dois pontos de vista! On October 27, Japaneses choreographer Kazuo Ohno celebrates his 103th birthday. In tribute to the date and the importance of Ohno`s work, idan\u00e7a brings two texts originally published in Obscena magazine. 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