{"id":15708,"date":"2010-07-15T18:07:41","date_gmt":"2010-07-15T21:07:41","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=15708"},"modified":"2010-07-22T12:47:50","modified_gmt":"2010-07-22T15:47:50","slug":"buto-kazuo-ohno-danca-japonesa-e-eu","status":"publish","type":"post","link":"https:\/\/idanca.net\/buto-kazuo-ohno-danca-japonesa-e-eu\/","title":{"rendered":"But\u00f4, Kazuo Ohno, dan\u00e7a japonesa e eu? | Butoh, Kazuo Ohno, Japanese dance and me?"},"content":{"rendered":"

N\u00e3o me lembro exatamente da primeira vez que ouvi falar sobre but\u00f4, mas me lembro de ter uma pequena imagem feita na cabe\u00e7a de algo que era estranho, misterioso, subversivo e japon\u00eas.<\/span><\/p>\n

Diferentemente de muitos brasileiros, eu primeiro ouvi falar da dan\u00e7a but\u00f4 e somente depois de Kazuo Ohno. Aqui no Brasil, Kazuo Ohno, but\u00f4 e dan\u00e7a moderna japonesa s\u00e3o coisas que quase se confundem ou se fundem na maioria das vezes. E isso, eu fui me apercebendo devagar.<\/span><\/p>\n

Por volta de 1996\/1997, quando tinha acabado de voltar da minha forma\u00e7\u00e3o em dan\u00e7a realizada em Lisboa, no est\u00fadio que hoje conhecemos como C.E.M. \u2013 Centro em Movimento<\/a>, dirigido por Sofia Neuparth, comecei a me apresentar com pequenos solos\u00a0 e performances e fui sendo surpreendida por determinadas rea\u00e7\u00f5es do p\u00fablico:<\/span><\/p>\n

\u201cVoc\u00ea faz but\u00f4?\u201d, \u201cO gestual das suas m\u00e3os parecem ser de dan\u00e7a japonesa\u2026\u201d, \u201cH\u00e1 algo no seu movimento que me lembra o but\u00f4. \u00c9 but\u00f4?\u201d E isso era muito estranho para mim.<\/span><\/p>\n

Sempre respondi que realmente nunca fiz but\u00f4, que trabalhava com dan\u00e7a contempor\u00e2nea, improvisa\u00e7\u00e3o. Hoje, a \u00fanica coisa que posso dizer \u00e9 que o meu querido professor e artista Peter Michael Dietz (com quem estudei durante cinco anos em Lisboa) fez – entre v\u00e1rias outras coisas – parte de uma companhia dinamarquesa, a DanceLab, que trabalha no vi\u00e9s do but\u00f4. Mas confesso que, no fim dos anos 90, eu nem sabia exatamente o que seria esse but\u00f4 t\u00e3o presente no imagin\u00e1rio dos artistas aqui no Brasil. Comecei a me incomodar com isso e percebi que tinha de me aproximar desse but\u00f4, para saber porque havia pessoas que enxergavam essa conex\u00e3o com o meu dan\u00e7ar.<\/span><\/p>\n

Tive sorte. Em 1997, conheci o Kazuo Ohno meio de surpresa. Para ser mais exata, conheci um Kazuo presente no frenesi das pessoas que o esperavam encontrar para um workshop e espet\u00e1culo, no SESC Consola\u00e7\u00e3o, em S\u00e3o Paulo.<\/span><\/p>\n

Confesso que fiquei muito c\u00e9tica e desconfiada com aquela como\u00e7\u00e3o e sensa\u00e7\u00e3o de idolatria frente a um artista que boa parte das pessoas ainda n\u00e3o tinha visto. Me perguntava: ser\u00e1 que todas estas pessoas realmente conhecem o trabalho do\u00a0 Kazuo? Ser\u00e1 que j\u00e1 estiveram com ele mesmo? Ou seria a for\u00e7a do fen\u00f4meno \u201cfama que antecede a experi\u00eancia\u201d? Ou este arrebatamento se deveria ao car\u00e1ter ex\u00f3tico de um artista vindo l\u00e1 do Jap\u00e3o, terra distante e j\u00e1 venerada pelo Ocidente, que faz uma dan\u00e7a outra, uma dan\u00e7a \u201cfresca\u201d aos nossos olhos de turista?<\/span><\/p>\n

Curioso foi o workshop. Parecia que estava t\u00e3o perto e t\u00e3o distante do Ohno san. Acho que, por um lado, eu me sentia um pouco \u00e0 parte do todo porque havia uma sensa\u00e7\u00e3o mista de deslumbramento, respeito, expectativa pr\u00e9-concebida na sala, e isso me desconcertava um pouco. Por outro lado, era complicado irmos recebendo algumas instru\u00e7\u00f5es mediadas de Ohno para seu filho Yoshito Ohno, de seu filho para o tradutor e finalmente do tradutor para n\u00f3s, numerosos na sala. Sem contar que a dura\u00e7\u00e3o do workshop foi curta, curt\u00edssima. Trabalhamos com tudo muito simples, explorando imagens\/met\u00e1foras, sensa\u00e7\u00e3o do corpo para o movimento, imagina\u00e7\u00e3o, improvisa\u00e7\u00e3o. Me lembro da imagem de uma flor que desabrocha. Muito simples. Nada muito revelador. Tranquilo. Simples.<\/span><\/p>\n

Mas \u00e0 noite, teatro lotado, p\u00fablico “expectando”, momento da apresenta\u00e7\u00e3o de Kazuo, sempre acompanhado de seu filho Yoshito.<\/span><\/p>\n

Mudan\u00e7a.<\/span><\/p>\n

No momento em que o vi dan\u00e7ar realmente pude sentir e conhecer o outro Kazuo, o artista. O seu estar mudou o lugar, mudou concretamente o estar da maioria das pessoas, pelo menos daquelas que foram atra\u00eddas e envolvidas pela sua energia sincera, forte e amorosa.<\/span><\/p>\n

Kazuo vibrava numa sintonia diferenciada, onde a express\u00e3o de pessoa, de arte, de comunica\u00e7\u00e3o e de exist\u00eancia plena se concretizavam num dan\u00e7ar\/ser sincero e belo. E ainda muito mais. Pat\u00e9ticas parecem minhas palavras ao tentar descrever o que seria aquela dan\u00e7a ou o artista. Naquela apresenta\u00e7\u00e3o, ao mesmo tempo nada \u201cgrandiosa\u201d ou \u201cespetacular\u201d, no sentido que costumamos dar a um acontecimento c\u00eanico, mas incrivelmente poderosa. Algo que faz a diferen\u00e7a no mundo.<\/span><\/p>\n

Eu poderia parar por aqui. Mas h\u00e1 outros Kazuos que se foram revelando com o tempo. O meu, nosso tempo. E o curioso \u00e9 que fui conhecendo estes outros Kazuos aqui em S\u00e3o Paulo, longe do Jap\u00e3o, em diversas atividades art\u00edsticas, palestras e cursos realizados na Funda\u00e7\u00e3o Jap\u00e3o, no SESC S\u00e3o Paulo[1]<\/a>, ou em algum evento relacionado ao but\u00f4, e sobretudo, com a pesquisa da professora Christine Greiner e do Centro de Estudos Orientais<\/a>, que me ajudou a abrir caminhos para novas perguntas, novos desfrutes e enriquecedores olhares sobre: o corpo japon\u00eas, o\u00a0 but\u00f4, o pr\u00f3prio Kazuo e Tatsumi Hijkata, Min Tanaka e outros artistas deste movimento ligados ao cinema\u00a0 e teatro, \u00e0 fotografia (Eikoh Hosoe), \u00e0 literatura e \u00e0 poesia, e sobretudo, a uma reflex\u00e3o sobre os contextos cultural-art\u00edstico e pol\u00edtico-social do but\u00f4 no Brasil e no mundo.<\/span><\/p>\n

N\u00e3o somente eu, mas v\u00e1rias outras pessoas conheceram e v\u00e3o conhecer ainda um outro Kazuo: o Kazuo Memor\u00e1vel, documentado atrav\u00e9s de registros em v\u00eddeos, fotos e em testemunhos de artistas, pessoas pr\u00f3ximas, alunos e admiradores, sem falar do mundo virtual, no pr\u00f3prio site do seu est\u00fadio<\/a>, no youtube e aqui no idan\u00e7a.<\/span><\/p>\n

Mas h\u00e1 um Kazuo, que recentemente est\u00e1 mais presente e que me assusta muito mais do que me estranha.<\/span><\/p>\n

\u00c9 o \u201cKazuo Ohno-Selo de Garantia\u201d, que faz parceria com o \u201cBut\u00f4 -Selo de Garantia\u201d. N\u00e3o \u00e9 de agora, mas com o falecimento de Kazuo, temos de observar muito bem como seu nome \u00e9 e ser\u00e1 citado, usado e divulgado.<\/span><\/p>\n

Agora como nunca ele \u00e9 selo de garantia, \u00e9 marca.<\/span><\/p>\n

Vemos muito disso por a\u00ed: no Youtube, nos curr\u00edculos art\u00edsticos, em projetos de pessoas que fizeram um workshop de um dia, uma semana ou um m\u00eas e que dizem que dan\u00e7aram com Kazuo Ohno, ou aqueles que se mascaram com maquiagem branca, fazem movimentos lentos, espasm\u00f3dicos, \u201csofridos\u201d, que dan\u00e7am a vida\/morte, o \u00fatero\/a m\u00e3e\/natureza, e cedem ao devaneio e aos \u201cimpulsos internos\u201d e que por isso, dizem: fa\u00e7o but\u00f4. E se por sorte ainda t\u00eam \u201colhos puxados\u201d, da\u00ed \u00e9 garantia total. \u201c\u00c9 Kazuo, \u00e9 but\u00f4, \u00e9 de vanguarda? Pode consumir.\u201d<\/span><\/p>\n

Muita nebulosidade neste momento.<\/span><\/p>\n

Que tal irmos com calma?<\/span><\/p>\n

But\u00f4 foi um movimento art\u00edstico de vanguarda. Surgiu num contexto bastante espec\u00edfico em uma T\u00f3quio p\u00f3s-guerra, nos anos 50 do s\u00e9culo passado, envolvendo artistas da dan\u00e7a, do teatro, da performance, do cinema, da literatura e das artes visuais. A repercuss\u00e3o do movimento foi forte, mas desagrad\u00e1vel no Jap\u00e3o, muitos artistas para n\u00e3o passarem fome ou para cuidarem da sua sa\u00fade imigraram para o Ocidente, para o lugar onde o but\u00f4 obteve um forte reconhecimento. Os artistas se adaptaram e se reinventaram em terras estrangeiras.<\/span><\/p>\n

Mudan\u00e7as.<\/span><\/p>\n

Outro momento para o but\u00f4. Os artistas mudaram.<\/span><\/p>\n

Mas o Ocidente ainda n\u00e3o se cansa de etiquetar dan\u00e7arinos japoneses em \u201cbutoh dancers\u201d, mesmo quando os pr\u00f3prios artistas n\u00e3o se v\u00eaem como tais.<\/span><\/p>\n

Agora o but\u00f4 v\u00ea seus precursores Hijkata e Ohno falecidos.\u00a0 E agora temos Kazuo Ohno \u2013 Selo de Garantia, ou como j\u00e1 ouvi falar Kazuo Ohno –\u00a0 \u201cuma grife\u201d.<\/span><\/p>\n

Como se configura o but\u00f4 hoje em dia?<\/span><\/p>\n

Ser\u00e1 poss\u00edvel se fazer\u00a0 but\u00f4 hoje em dia?<\/span><\/p>\n

De que but\u00f4 estamos falando?<\/span><\/p>\n

Kazuo Ohno n\u00e3o se interessou em desenvolver um sistema de aprendizado do seu but\u00f4, generosamente compartilhava sua experi\u00eancia de vida e arte com quem quisesse participar de suas aulas abertas e gratuitas. N\u00e3o pensava em \u201censinar but\u00f4\u201d a ningu\u00e9m, e n\u00e3o nos deixando um m\u00e9todo seu, como fez Hijikata em seu \u201cbut\u00f4-kabuki, (…) um poss\u00edvel m\u00e9todo de ensino e de forma\u00e7\u00e3o de jovens artistas\u201d, talvez tenhamos que nos contentar em ficar com vest\u00edgios e rastros valiosos, os felizardos que puderam ver Kazuo em cena, guardar\u00e3o em seus corpos mem\u00f3rias de um lindo Kazuo.<\/span><\/p>\n

Talvez o nome do evento\u00a0 \u201cVest\u00edgios do But\u00f4\u201d, realizado em 2004, tamb\u00e9m no SESC Consola\u00e7\u00e3o, nos d\u00ea uma boa pista sobre o futuro do but\u00f4. E talvez n\u00e3o seja interessante\u00a0 ficarmos procurando por \u2018fazedores de but\u00f4\u201d, ou nos \u201cherdeiros do but\u00f4 Kazuo Ohno\u201d (ai que medo!).<\/span><\/p>\n

Em uma conversa muito interessante como a pesquisadora Christine Greiner, coloquei a d\u00favida de como olhar para o but\u00f4 hoje, j\u00e1 que sabemos que n\u00e3o \u00e9 por copiarmos os movimentos lentos com concentra\u00e7\u00e3o de energia interna do movimento ou pintar o corpo de branco e lidar com os temas da morte\/vida, \u201cdan\u00e7ar uma flor ou pedra\u201d ou seja, copiar uma \u201cest\u00e9tica but\u00f4\u201d para se fazer but\u00f4.<\/span><\/p>\n

O que nos resta hoje?<\/span><\/p>\n

Mem\u00f3rias, vest\u00edgios, tradu\u00e7\u00f5es, aproxima\u00e7\u00f5es, conversa\u00e7\u00f5es?!…<\/span><\/p>\n

Talvez pud\u00e9ssemos observar trabalhos art\u00edsticos que possam dialogar, se conectar, se tocar com a quest\u00e3o do \u201ccorpo em crise\u201d, mas querer ser, fazer, ter but\u00f4 na sua dan\u00e7a? Talvez seja um grande equ\u00edvoco a ser evitado.<\/span><\/p>\n

Momento dif\u00edcil, reconhecer a perda.<\/span><\/p>\n

Let\u00edcia Sekito<\/strong><\/a> \u00e9 diretora e dan\u00e7arina da <\/strong>Companhia Flutuante<\/strong><\/a>. Trabalha com improvisa\u00e7\u00e3o, cria\u00e7\u00e3o coreogr\u00e1fica e performance. Formada pelo C.E.M – Centro em Movimento, Lisboa (90-96). Tem interesse na rela\u00e7\u00e3o entre corpo, cultura e dan\u00e7a. Faz parte do Centro de Estudos Orientais, coordenado por Christine Greiner, e do Centro de Estudos em Dan\u00e7a, coordenado por Helena Katz.<\/strong><\/span><\/p>\n

Leia tamb\u00e9m: Kazuo Ohno morre aos 103 anos<\/a><\/span><\/p>\n

Galeria butoh<\/a><\/span><\/p>\n

I don’t remember exactly the first time I heard about Butoh, but I remember having a little image in head about it as something that was strange, mysterious, subversive and Japanese.<\/span><\/p>\n

Unlike many Brazilians, I heard about Butoh dance first and about Kazuo later. Here in Brazil, Kazuo Ohno, Butoh and modern Japanese dance are things that are often mixed up or mixed together. That\u00b4s why I became aware of it slowly.<\/span><\/p>\n

Around 1996\/1997, I had just returned from my dance training in Lisbon, in the studio currently known as C.E.M. \u2013 Centro em Movimento<\/a>, which was directed by Sofia Neuparth. That\u00b4s when I started performing small solos and I was surprised by certain reactions from the audience: \u201cDo you do Butoh?\u201d, \u201cYour hand gestures look like Japanese dance\u2026\u201d, \u201cThere is something in your movement that reminds me of Butoh. Is it Butoh?\u201d. And that was very strange for me.<\/span><\/p>\n

I always answered that I had never really done Butoh and I worked with contemporary dance, improvisation. Today, the only thing I can say is that my dear teacher, artist Peter Michale Dietz (with whom I studied for five years in Lisbon) was \u2013 among other things \u2013 part of DanceLab, a Danish company that worked with a Butoh approach. But I must say, in the end of the 90\u2019s, I didn\u00b4t even know exactly what Butoh was and it was so vivid in the imagination of artists in Brazil. It started to bother me and I realized I had to get closer to Butoh to find out why there were people who saw a connection with my dance.<\/span><\/p>\n

I was lucky. In 1997, I met Kazuo Ohno. It was kind of a surprise. To be more accurate, I met Kazuo amidst a frenzy of people waiting to meet him for a workshop and show at SESC Consola\u00e7\u00e3o, in S\u00e3o Paulo.<\/span><\/p>\n

I must say I was pretty skeptic and suspicious with all that commotion and worship surrounding an artist most people hadn\u00b4t even seen. I asked myself: do all these people really know Kazuo\u2019s work? Had they really been with him? Or was this just the power of the \u201cfame preceding experience\u201d phenomenon? Or was this rapture due to the exotic quality of an artist coming from Japan, a distant land already revered by the West, an artist who makes a different dance, \u201cfresh\u201d for our tourist eyes?<\/span><\/p>\n

The workshop was odd. I felt so close and yet so distant from Ohno san. I think on one hand, I felt a little like \u2018a part of a whole\u2019, because there was a mixed feeling of fascination, respect and pre-conceived ideas in the room and that baffled me a little. On the other hand, it was complicated to receive some instructions mediated by Ohno to his son Yoshito Ohno, from his son to the translator and finally from the translator to the many of us in the room. Not to mention the workshop was very, vey short. We worked in very simple way, exploring images\/metaphors, feelings of the body for movement, imagination, improvisation. I remember the image of a flower blossoming. Very simple. Nothing too revealing. Calm. Simple.<\/span><\/p>\n

But at night, the theater was packed, the audience waiting, the time for Kazuo\u2019s presentation, always followed by his son Yoshito.<\/span><\/p>\n

Change.<\/span><\/p>\n

The moment I saw him dancing, I could really feel and get to know the other Kazuo, the artist. His presence changed the place, the presence of most people materially changed, at least those who were drawn and involved by his sincere, strong and loving energy.<\/span><\/p>\n

Kazuo vibrated in a different syntony, in which the expression of people, art, communication and full existence materialized in a sincere and beautiful dance. And there was much more. My words seem pathetic when I try to describe that dance or the artist. The presentation was neither \u201cgrandiose\u201d nor spectacular in the sense we usually give to a scenic event, but it was incredibly powerful. Something that makes a difference in the world.<\/span><\/p>\n

I could stop here. But other Kazuos were revealed over time. My, our time. And the odd thing is that I got to know the other Kazuos here in S\u00e3o Paulo, far from Japan, at SESC S\u00e3o Paulo, or some other event related to Butoh and, above all, through the research of professor Christine Greiner and Centro de Estudos Orientais<\/a> (\u201cWestern Studies Center\u201d). It helped me open paths for new questions, new enjoyments and enriching views about: the Japanese body, Butoh, Kazuo himself and Tatsumi Hijkata, Min Tanaka and other artists who were part of this movement connected to cinema and theater, photography (Eikoh Hosoe), literature and poetry. Above all, it brought a reflection about cultural-artistic, social-political context of Butoh in Brazil and the world.<\/span><\/p>\n

Not only me, but several other people learned and will learn about yet another Kazuo: the Memorable Kazuo, the one documented through video and photographic records and accounts from artists, people close to him, students and admirers, not to mention the digital world, in his studio\u2019s website<\/a>, on Youtube and at idan\u00e7a, for instance.<\/span><\/p>\n

But there is one Kazuo that is more present recently and that scares me a lot more than it surprises me.<\/span><\/p>\n

It\u00b4s the \u201cKazuo Ohno-Seal of Guarantee\u201d, which is a partner to \u201cButoh-Seal of Guarantee\u201d. This is recent, but with Kazuo\u2019s passing, we must pay very close attention to how his name is and will be mentioned, used and broadcast.<\/span><\/p>\n

Now, more than ever, he is a seal of guarantee, he is a brand.<\/span><\/p>\n

We can see a lot of that around. On Youtube, on artistic CVs, in projects of people who took a one-day, one-week or a one-month workshop and say they danced with Kazuo Ohno. Or those who make slow, spastic, \u201csuffering\u201d movements, those who dance life\/death, the uterus\/the mother\/nature and give in to reverie and \u201cinternal impulses and because of that they say: I make Butoh. And if they are lucky to look Asian, then it\u00b4s totally guaranteed. \u201cIs it Kazuo, is it Butoh, is it avant-guard? You can buy it.\u201d<\/span><\/p>\n

There is a lot of haziness right now.<\/span><\/p>\n

How about we take it easy?<\/span><\/p>\n

Butoh was an avant-guard artistic movement. It emerged in a very specific context, in post-war Tokyo, in the 1950\u2019s and it involved artists of dance, theater, performance, cinema, literature and visual arts. The repercussion of the movement was very strong, but unpleasant in Japan. In order not to starve or take care of their health many artists immigrated to the West, where Butoh was strongly acknowledged. The artists adapted and reinvented themselves in foreign lands.<\/span><\/p>\n

Changes.<\/span><\/p>\n

Another moment fo Butoh. The artists changed.<\/span><\/p>\n

But the West is still not tired of labeling Japanese dancers as \u201cButoh dancers\u201d, even those artists who don\u00b4t see themselves as such.<\/span><\/p>\n

Now Butoh has its pioneers gone. And now we have \u201cKazuo Ohno-Seal of Guarantee\u201d or as I have heard, Kazuo Ohno \u2013 \u201ca brand\u201d.<\/span><\/p>\n

How is Butoh currently configured?<\/span><\/p>\n

Is it possible to make Butoh nowadays?<\/span><\/p>\n

Which Butoh are we talking about?<\/span><\/p>\n

Kazuo Ohno wasn\u00b4t interested in developing a learning system for his Butoh. He generously shared his life and art experience with whoever wished to participate in his free open classes. He didn\u00b4t think about \u201cteaching Butoh\u201d to anyone and he didn\u00b4t leave us a method of his, as Hijikata did for his \u201cButoh-kabuki, (\u2026) a possible teaching and training method\u201d. Maybe we have to settle with valuable traces. The fortunate ones who saw Kazuo on stage will keep in their bodies the memories of a beautiful Kazuo.<\/span><\/p>\n

Maybe the name of the event \u201cRemains of Butoh\u201d, which happened in 2004 at SESC Consola\u00e7\u00e3o, may give us a hint about the future of Butoh. And maybe it\u00b4s not interesting to keep looking for \u2018Butoh makers\u2019, of the \u2018heirs of Kazuo Ohno\u2019s Butoh\u2019 (Yikes!)<\/span><\/p>\n

In a very interesting conversation with researcher Christine Greiner, I questioned the way we look at Butoh nowadays, since we know it\u00b4s not by copying the slow movements concentrating internal energy or painting the body white and dealing with issues of death and life, \u201cdancing a flower or a stone\u201d, copying \u201cButoh aesthetics\u201d to make Butoh.<\/span><\/p>\n

What is left for us today?<\/span><\/p>\n

Memories, traces, translations, approximations, conversations?!…<\/span><\/p>\n

Maybe we could observe artistic works that can dialogue, connect, be touched by the issue of the \u201cbody in crisis\u201d. But wanting to be, to make, to have Butoh in their dance? Maybe that is a big mistake to be avoided.<\/span><\/p>\n

Ackowlegding the loss is a difficult moment.<\/span><\/p>\n

Let\u00edcia Sekito<\/a> is the director and a dancer at Companhia Flutuante<\/a>. She works with improvisation, choreographic creation and performance. She was trained at C.E.M – Centro em Movimento, Lisbon (90-96). She is interested in the relationship between body, culture and dance. She is part of the Western Studies Center, which is coordinated by Christine Greiner, and of the Dance Studies Center, coordinated by Helena Katz.<\/strong><\/span><\/p>\n

Read also: Kazuo Ohno dies<\/a><\/span><\/p>\n

Butoh gallery<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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