Interview
 
Syv Bruzeau
French Butoh artist Syv Bruzeau will be conducting an intensive Butoh workshop in Mumbai from 13th to 17th August 2014. The workshop has been organised by Ananth Arts. Syv has trained in Japanese Butoh with different masters, namely Lee Rhizome, Eiko & Koma, Kastura Kan, Tetsuro Fukuhara and Yugio Waguri. Here she talks about the essence of the form and of what makes it special.


 By Deepa Punjani

Syv BruzeauDeepa Punjani (DP): How would you simplify Butoh for a beginner?

Syv Bruzeau (SB): Butoh is a dance of freedom; freedom from your own ego, from society's rules, freedom from right and wrong, freedom to follow one's own movement and body condition. Butoh is not dictated by any specific steps and the teacher should only be there to inspire and guide the students.

DP: The Wikipedia page on Butoh says that the form is said to "resist fixity" and is difficult to define. Why is that?

SB: Indeed, the more I do Butoh, the less I seem to be able to explain it! I guess it is because Butoh is a personal form of expression. Butoh does not have rigid and specific rules or steps, or curriculum. Butoh is a personal investigation, which is limitless and never ends.

DP: What are the defining hallmarks of this form?

SB: Butoh takes many forms and since it is a very personal kind of dance, I can mainly talk about the Butoh I practice. When I say it is a personal dance, I mean that you bring into your movements your own history, background, traumas, memories. From there, movements can take form.

The early name of Butoh was "Ankoku Butoh" which means "the Dance of Darkness". Butoh allows me to investigate deeply who I am, what is hidden and forgotten in my body. Through Butoh I can express myself in unusual and new ways. I can surprise myself, and the audience!

Another landmark is gravity. Butoh embraces gravity contrary to ballet or other dances. We have a special relationship with the floor. With our feet, we are pulled down instead of trying to be light and reach up.

DP: How do you think it may help Indian actors?

SB: It is sometimes said that Butoh is the borderline between dance and theatre. I think actors could benefit from Butoh by being more connected to their body, more aware of their movements and body language, therefore more comfortable with their body. Butoh can widen their movement and body language range. In Butoh you also learn to use the face as a dancing place, so Butoh can help actors be more expressive.

DP: What kind of training does one have to undergo to absorb the essence of this form?

SB: The best way to first approach Butoh is to let go of any preconceived ideas about dance and movement and the self. To be open to whatever happens. One of the best things would of course be to dedicate a decent length of time and immerse one's self into Butoh, as it is the case at the Subbody Butoh School in the Himalayas. That is what I did. I spent month after month researching body, movements, others and myself. Something interesting and unexpected always comes out.

DP: You have studied under a number of Butoh masters. What was different about each of them and what are the best things you have learnt from them?

SB: They all have their own ways of teaching and focus points. Some are more physical, some focus more on the creative side, others on the imagination, etc.

DP: How is Butoh perceived in Japan today?

SB: Butoh stays a niche and an underground dance in Japan. Very few Japanese know about it. I think for most people in Japan, Butoh is a bit too strange, too different, too individual. I don't think it will ever go mainstream. Most Butoh Japanese dancers don't have a company but are scattered by themselves here and there, all over Japan.

DP: In your experience, which are the best companies/individuals performing Butoh today? Tell us of a Butoh show in recent times that has impressed you.

SB: I can't rely on my personal taste to say who is best! There is no 'best' in Butoh; we are all different. The most famous (and old) Butoh company is called Sankai Juku. They are based in Paris and have been around for more than 30 years I think. Their Butoh style is very approachable. I prefer performances held in intimate places in order to get a close resonance and connection between the audience and the dancer.

*Deepa Punjani is the Editor of this website.






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