Butoh Dictionary

In subbody, can factory is a term taken from Hijikata's butoh-fu images. It represents a memory (especially childhood memory) with very rich associations/qualias.

In Shadowbody, this is an exercise where one is both a ceramic artist and the clay. As one freely moves, one molds themselves into different positions. One is also simultaneously entering into clay molding = massage. The body is composed of only clay. Eventually, one crafts one particular shape. Then one takes themselves to the oven to cook. After, one falls and breaks into to many pieces.

The concept of seeing something as if for the first time with curiosity. Related to P Liao's breakdown of the butoh process (2 of 3) labelled as encountering.

The chimera takes on more than one qualia within different parts of the body. For instance, the arms can be tree limbs while the legs are rooster legs.

The chimera is often associated with the grotesque. Chimeras make use of deterritorialization of one or more body part.

A Shadowbody portmanteau play on words mixing "choreography" and "improvisation."

Choreography does not mean there is no improvisation. Within the choreography, there are different degrees of improvisation.

Also related is the ability to keep an open choreography where if the chance calls for it, a choreographed moment is replaced by an improvised one.

The final part of the three-part process of Akaji Maro's Maro Method which is the practice of emptying the self so that the body becomes a vessel or cavity through which external forces (energies, spaces, or presences) act. In this state, movement arises not from ego but from the body’s openness to being moved by the surrounding world.

A Subbody term used in the process of space and choreography to express stage or space positioning of bodies that is too neatly structured, too linear, neat, or predictable such as what is seen in a city park.

In contrast, there is the rock garden.

In Shadowbody, this is the same concept as paper sheet puppet but with clay or Play Doh.

Simply when in performance, the eyes are closed. It makes it easier to go inside the body with eyes closed. However, the same effect can occur when the eyes are open through glass ball eye and other manipulations. It is not encouraged to make a habit of the closed eye.

A key butoh concept inspired by Tatsumi Hijikata's writing Ailing Dancer in which resonance with the subconscious or dream world masks literal meaning, allowing movement and expression to emerge beyond straightforward interpretation. In other words, the body is abstracted.

Another term used is the obscured body.

A Subbody term simply meaning multiple Subbody dancers or group.

This is a deterritorialized face exercise where a group gets in a circle and collectively makes one co-face, each person a part of the face such as eyes, lips, cheeks, etc. For purposes of visibility, they might all be in a ball and close together. One participant will mirror in the face what the group’s face is showing.

The exercise can also be reversed where the co-face is mirroring the one individual’s face.

One of the 8 butoh spices in Shadowbody. These are the basic movement motifs found in butoh movement.

Also known as fall (micro and macro).

A Shadowbody term for developing intensity in a qualia.

A cone is visualized with a tiny hole the size of a needle at the very end. The qualia gradually travels down the cone toward the point/vertex. The closer it gets to the point, the more intense and concentrated it gets. Eventually, it come out from the little like a laser of that qualia.

A term used by Yukio Waguri to describe a state of genuine trance in which one enters deeply, yet retains awareness and control of the situation. Related to 50/50.

Yukio Makami termed this not drunk.

A Shadowbody group exercise where one participant is the head of the whip and travels in quick ridiculous pathways while everyone holds hands. If the whip is ever broken, participants are to immediately return to the chain.

Group exercise/improvisation engaged in at Shadowbody that begins in a circle initially with everybody holding hands, and the circle rotates while participants step back, forward, and around without letting go of the hands.

In performance, this is simply when the eyes are crossed. To get the effect at first, one can extend one's arm in front of them. One can look at the finger as it travels between the eyes. This can make the eyes cross.