(October 27, 1906 – June 1, 2010)
was a Japanese dancer and inspirational figure in the dance form "Butoh".
Butoh is an avant-garde dance form that originated in post WWII Japan,
characterized by white body paint and conceptual, tortured movements.
"The best thing someone can say to me is that
while watching my performance they began to cry.
It is not important to understand what I am doing;
perhaps it is better if they don't understand, but just respond to the dance."
“ My intention in dressing as a woman onstage
has never been to become a female impersonator,
or to transform myself into a woman.
Rather, I want to trace my life back to its most distant origins.
More so than anything else,
I long to return to where I've come from.”
A Message to the Universe
by Kazuo Ohno, 1998
“On the verge of death one revisits the joyful moments of a lifetime.
One’s eyes are opened wide-gazing into the palm,
seeing death, life, joy and sorrow with a sense of tranquility.
This daily studying of the soul, is this the beginning of the journey ?
I sit bewildered in the playground of the dead.
Here I wish to dance and dance and dance and dance,
the life of the wild grass.
I see the wild grass, I am the wild grass, I become one with the universe.
That metamorphosis is the cosmology and studying of the soul.
In the abundance of nature I see the foundation of dance.
Is this because my soul wants to physically touch the truth ?
When my mother was dying
I caressed her hair all night long
without being able to speak one word of comfort.
Afterwards, I realized that I was not taking care of her,
but that she was taking care of me.
The palms of my mother’s hands are precious wild grass to me.
I wish to dance the dance of wild grass to the utmost of my heart.”
“When we set out to make this short, our intention simply was to observe the phenomenon of fashion bloggers and street style stars. As we started to review the footage, two salient trends became apparent: fashion editors frustrated by the ensuing commotion outside of shows, and the rise of “pea cocking” street style stars as a result of the proliferation of blogs. This film examines these themes from both perspectives.”
In 1996 he founded his own "Tero Saarinen Company"
" When we talk about art, I think that the risk-taking makes it more exciting. If it is too calculated and comfortable, and does not have a possibility for the participants to take risks, then it is not alive. It is a risk with some kind of safety. And I think that is also in my life. I never cared about my contracts, my pensions. You have to take other injections of inspiration from other cultures. It is all about the structure. The ideology of our company is like that, we take risks but under control, on stage and off stage."
" I read days ago an interview I did when I was 25, saying “I am not afraid of getting old…” So I think that there is this dilemma of the dancer, you feel you do not have to exhaust physically yourself to transmit things. You can do less but still transmit more things. People ask “when do you stop?” I still have not decided when I stop. I am quite critical with myself, so I suppose I will decide to stop when I am not able to transmit anything anymore. When the dialogue with the audience does not happen, I will stop before that."
" You can't dance classical ballet after a certain point if you don't want to do parody. But if the body still works and the desire's there, a place can be found on stage for everyone."
" I dance because I do not want to talk. Everything can be said in the art of dance."
" There is always this fundamental need to express emotions and observations of life through movement. Music, films, books or just incidents in everyday life can serve as source of inspiration but choreographic ideas can also be born without them."
" There were so many things boiling inside of me. Dancing and choreographing was really the most effective and most suitable way for me to study and talk about human emotions and behavior."
" I feel we are carrying inheritance from our ancestors in our minds and bodies. To be able to connect in to the present and even to dream on creating something new, we must be aware of our past."
" The visual appearance of the piece is rooted in the aesthetics of frugality and the accentuation of opposites."
" I made no sudden decision to become a choreographer, but I wanted to dance ballets based on my own experience. I created honest pieces reflecting my life, and it felt right "
“Dance is my attempt to understand human nature and its multiple manifestations.”
" I do not have any discrimination against any kind of dance. I think any kind of dance in education is good, the important factor is what you do with it. All the techniques are a nutrition for your body, in this way I feel privileged because first of all I could start late, I did all kinds of activities for my body, sport and stuff…..they represent an alphabet for your physicality."
PS. because of the copyright, most of the videos i can't upload here.
i suggest you better search his name and you will find some good videos of him.
" Pickering’s Explosion photographs are shot at sites where fake bombs are deployed for military personnel interested in buying pyrotechnics. Manufactured by some of the same companies that make explosives for action/adventure and war films, the bombs are built for use in military training exercises.
Pickering captures the explosions as they are detonated in demonstrations, isolated in a benign landscape void of people and infrastructure. Made to imitate artillery, napalm, and land mines, these explosions are controlled, and like toys or fireworks, are much smaller in scale than their real-world counterparts.
The pictures Pickering makes of them are alluring. The clouds of smoke, all in different shapes and colors, hover a few feet above the ground as if a magic trick has just occurred, capturing a fleeting moment that is mysterious and beautiful, and odd in its lack of context."
" I'm interested of course in the visual seduction of explosions, but also intrigued by the more disturbing aspect of the potential violence and our relationship to it. "
" The explosion as a metaphor is a very powerful one. It represents an extreme state and conjures some visually rich imagery in our language, fusing fear, power, pleasure and the unknown. In a way the photographs I've made show the inadequacy of an explosion when packaged as a 'product' or captured as an image. "