By Sondra Horton
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Additional resources for Hijikata Tatsumi and Ohno Kazuo (Routledge Performance Practitioners)
Example text
He identifies with homosexuals, festivals, ceremonies, and prisoners because of their lack of purpose in relation to capitalist productivity. “I wager reality on a nonsensical vitality that has purged the echo of logic from my body and I dream of the day when I am sent to prison with them. . I would like to be sitting, without even a passport, smack in the middle of a mistake” (2000b: 44–5). In ‘Inner Material/Material’ written in 1960, a year after his first work Kinjiki, Hijikata carries his protest against production further in terms of performance: “Because audiences pay money to enjoy evil, we must return compensation for it.
Meanwhile, she also became a butoh training master and officially the managing director of the Hijikata Tatsumi Memorial Asbestos Studio. It is increasingly clear that Motofuji is one of butoh’s unsung heroes, initiating the endeavors of butoh with Hijikata, and also explaining them through her book Together with Hijikata Tatsumi (Hijikata Tatsumi to tomo ni) (1990). Among Hijikata and Motofuji’s early dances together are Roses for Emily and Aerial Garden. After his death, she choreographed Mandara (1993), A letter to Abakanowicz (1994), and Heaven: We Walk on Eternity (1997), combining butoh innovatively with ballet and Neue Tanz in a sweeping style of expression.
Hijikata was the power and strength of eroticism; he could show that it was so exquisite, something so strong that people were afraid of it” (Ohno in Slater 1986: 8). In his working relationship with Hijikata, Ohno also encountered death again, not so literally as he had in war, but in the dances of death that Hijikata created. It is far from surprising then that in Ohno’s return to the stage after almost a decade of self-reflection he would choose once again to collaborate with the man who had brought him face to face with himself.