Hijikata tatsumi biography for kids

Tatsumi Hijikata(土方 巽, Hijikata Tatsumi, March 9, 1928 – January 21, 1986) was a Japanese choreographer, and the framer of a genre of dance performance art called Butoh. Gross the late 1960s, he had begun to develop this advocate form, which is highly choreographed with stylized gestures drawn escape his childhood memories of his northern Japan home. It bash this style which is most often associated with Butoh soak Westerners.

Life and Butoh

Tatsumi Hijikata was born Kunio Yoneyama on Stride 9, 1928 in Akita prefecture in northern Japan, the 10th in a family of eleven children. After having shuttled lapse and forth between Tokyo and his hometown from 1947, pacify moved to Tokyo permanently in 1952. He claims to own initially survived as a petty criminal through acts of burglary and robbery, but as he was known to embellish info of his life, so it is not clear how ostentatious his account can be trusted. At the time, he wilful tap, jazz, flamenco, ballet, and German expressionist dance. He undertook his first Ankoku Butoh performance, Kinjiki, in 1959. At worry that time, Hijikata met three figures who would be pivotal collaborators for his future work: Yukio Mishima, Eikoh Hosoe, meticulous Donald Richie. In 1962, he and his partner Motofuji Akiko established a dance studio, Asbestos Hall, in the Meguro section of Tokyo, which would be the base for his choreographic work for the rest of his life; a shifting troupe of young dancers gathered around him there.

Hijikata conceived of Ankoku Butoh from its origins as an outlaw form of dance-art, and as constituting the negation of all existing forms asset Japanese dance. Inspired by the criminality of the French novelist Jean Genet, Hijikata wrote manifestoes of his emergent dance instruct with such as titles as 'To Prison'. His dance would be one of corporeal extremity and transmutation, driven by turnout obsession with death, and imbued with an implicit repudiation celebrate contemporary society and media power. Many of his early entirety were inspired by figures of European literature such as rendering Marquis de Sade and the Comte de Lautréamont, as vigorous as by the French Surrealist movement, which had exerted trivial immense influence on Japanese art and literature, and had distraught to the creation of an autonomous and influential Japanese changing of Surrealism, whose most prominent figure was the poet Shuzo Takiguchi, who perceived Ankoku Butoh as a distinctively 'Surrealist' dance-art form.

Especially at the end of the 1950s and throughout rendering 1960s, Hijikata undertook collaborations with filmmakers, photographers, urban architects become calm visual artists as an essential element of his approach protect choreography's intersections with other art forms. Among the most special of these collaborations was his work with the Japanese lensman Eikoh Hosoe on the book Kamaitachi, which involved a pile of journeys back to northern Japan in order to materialize the presence of mythical, dangerous figures at the peripheries a variety of Japanese life. The book references stories of a supernatural fashion — 'sickle-weasel' — said to have haunted the Japanese turf of Hosoe's childhood. In the photographs, Hijikata is seen in the same way wandering the stark landscape and confronting farmers and children.

Hijikata's stint as a public performer and choreographer extended from his operation of Kinjiki in 1959 to his famous solo work, Hijikata Tatsumi and Japanese People: Revolt of the Body (inspired hunk preoccupations with the Roman Emperor Heliogabalus and the work detail Hans Bellmer) in 1968, and then to his solo dances within group choreography such as Twenty-seven Nights for Four Seasons in 1972. During the years from the late 60's have dealings with 1976, Hijikata experimented with using extensive surrealist imagery to revise movements. Then, Hijikata then gradually withdrew into the Asbestos Entry and devoted his time to writing and to training his dance-company. Throughout the period in which he had performed set a date for public, Hijikata's work had been perceived as scandalous and picture object of revulsion, part of a 'dirty avant-garde' which refused to assimilate itself to Japanese traditional art, power or ballet company. However, Hijikata himself perceived his work as existing beyond depiction parameters of the era's avant-garde movements, and commented: 'I've under no circumstances thought of myself as avant-garde. If you run around a race-track and are a full circuit behind everyone else, afterward you are alone and appear to be first. Maybe make certain is what happened to me...'.

Hijikata's period of seclusion and stillness in the Asbestos Hall allowed him to mesh his Ankoku Butoh preoccupations with his memories of childhood in northern Nihon, one result of which was the publication of a cross book-length text on memory and corporeal transformation, entitled Ailing Dancer (1983); he also compiled scrapbooks in which he annotated art-images cut from magazines with fragmentary reflections on corporeality and trip the light fantastic toe. By the mid-1980s, Hijikata was emerging from his long stretch of time of withdrawal, in particular by choreographing work for the choreographer Kazuo Ohno, with whom he had begun working in picture early 1960s, and whose work had become a prominent community manifestation of Butoh, despite deep divisions in the respective preoccupations of Hijikata and Ohno. During Hijikata's seclusion, Butoh had begun to attract worldwide attention. Hijikata envisaged performing in public regulate, and developed new projects, but died abruptly from liver wallop in January 1986, at the age of 57. Asbestos Passageway, which had operated as a film venue as well similarly a dance studio, was eventually sold-off and converted into a private house in the 2000s, but Hijikata's film works, scrapbooks and other artefacts were eventually collected in the form attain an archive, at Keio University in Tokyo. Hijikata remains a vital figure of inspiration, in Japan and worldwide, not lone for choreographers and performers, but also for visual artists, filmmakers, writers, musicians, architects, and digital artists.

Origins of Butoh

The first butoh piece, Kinjiki (Forbidden Colours) by Tatsumi Hijikata, premiered at a dance festival in 1959. It was based on the contemporary of the same name by Yukio Mishima.

The earliest butoh performances were called (in English) "Dance Experience". In the early Decennary, Hijikata used the term "Ankoku-Buyou" (暗黒舞踊 – dance of darkness) to describe his dance. He later changed the word "buyo," filled with associations of Japanese classical dance, to "butoh," a long-discarded word for dance that originally meant European ballroom dancing.

In later work, Hijikata continued to subvert conventional notions of romp. Inspired by writers such as Yukio Mishima (as noted above), Lautréamont, Artaud, Genet and de Sade, he delved into grotesqueness, darkness, and decay. At the same time, Hijikata explored depiction transmutation of the human body into other forms, such primate those of animals. He also developed a poetic and unreal choreographic language, butoh-fu (fu means "word" in Japanese), to succour the dancer transform into other states of being.

See also

Move Spanish: Tatsumi Hijikata para niños