Dance Video Index

In this database, you will find 373 dance videos which were collected from the 2023 to 2025 fiscal years under the auspices of the EPAD (Eternal Performing Arts Archives and Digital Theatre) .

Overview

• Title
• Performer(s)
• Year performed

• Dancing Gozu-Mezu-Yata (Takamura 8mm Edition)

  A record of Byakko-sha’s first outdoor performance in Kumano. The exact date, time and location of the performance cannot be ascertained, but it is believed to have been performed around 1980. The original was filmed on 8mm, and parts of the performance have been edited together with other music. It includes scenes such as Isamu Osuka being carried in on a kite, and also features Sanae Hiruta and Karuko Aiyama performing “Jagatara Oharu - Angry Chicken, Crying Chicken”, though their voices are not audible. From 1980 onward, Byakko-sha held annual summer butoh workshops and performing arts and cultural seminars in Kumano, and the customary presentations by the participants were given under the same title as this performance.

  

  Performer(s)

  Byakko-sha

  Director/Choreographer

  Isamu Osuka

  Venue

  Kumano

  Year performed

  1980

• DARK BOX – Garden in Darkness

  GORO NAMERIKAEWA DANCE CORRESPONDENCE '88.
  The walls are covered in photographic paper. The dance begins in total darkness. After a number of flashes of a green lamp, the lights come up and images of Namerikawa Goro's dancing body appear on the walls. This was the trick used in 'Dark Box'. Although the date of the performance at The Seed Hall is unknown, it was also performed at the Mandeville Center at the University of California, San Diego on June 20, 1986, and at the Suzue Gumi Warehouse in 1987. For the Suzue Gumi Warehouse performance, the photographic paper wall stretched 30 metres side to side.

  

  Performer(s)

  Goro Namerikawa/Austro Arts Association Co.,Ltd.

  Director/Choreographer

  Goro Namerikawa

  Venue

  Seed Hall

  Year performed

  1988

• Dark Wings

  This work was choreographed for ballet dancers of the Taras Shevchenko National Academic Opera and Ballet Theatre of Ukraine by butoh dancer Yamada Ippei (aka Bishop Yamada) while he spent some months in living in Kyiv. An encounter with butoh by ballet dancers. It featured appearances by Anna Kouschneryova, national star of Ukraine at the time, and in August that same year, it was remade under the name 'The Door of Night for Odette' and performed at the Tokyo Metropolitan Theatre with most of the same cast.

  

  Performer(s)

  Hoppo Butoh-ha

  Director/Choreographer

  Ippei Yamada

  Venue

  National Opera of Ukraine

  Year performed

  1998

• DasSHOKU SHAKE!

  Be ready to get lost in this funky cross cultural emo shake up! DasSHOKU SHAKE! is the fourth work in the award winning DasSHOKU repertoire - the unique culture-crushing dementia, which has been recognized by audiences in sell-out seasons nationally and internationally since 1999. Dasshoku means 'to bleach'.
  Butoh Punkess Yumi Umiumare ignites her next infamous DasSHOKU Cabaret, bursting from the shaking earth. Osaka’s legendary Theatre Gumbo, international guest artists from Japan plus four of Melbourne’s shock-toy acolytes bring things of darkness out into footlights. Jap-pop and white mysticism assault Buddhist Heart sutra! Comic! Bizarre!
  Does devastation transform us, cleanse us or bleach us?
  
  Performed at:
  2015 Mildura Wentworth Arts Festival
  2014 Japan Tour - Tokyo and Osaka, and workshop in Minami Sanriku (collaborated with Theatre Group Gumbo)
  2013 Darwin Festival
  2012 Melbourne Fringe Festival
  
  -DasSHOKU Butoh Cabaret Series
  -Australian GreenRoom Awards for INNOVATION(2012), Melbourne Fringe Festival Award (2012)
  

  

  Performer(s)

  Yumi Umiumare

  Director/Choreographer

  Yumi Umiumare, Kayo Tamura

  Venue

  fortyfivedownstairs

  Year performed

  2012

• Dawn

  If the world is truly wonderful, then wonderful is the sadness I hold for the world.
  If the world is a mess, this sadness too is a mess.
  Do life and death, as morning and night, continue to live on in the same way?
  In this piece, the sadness of the 1930s - the beginning of the modern era - shows its face. The grief of an aging body slips into a frivolous romantic reminiscence of days gone by.
  
  - Participated in the ACA National Arts Festival 1977

  

  Performer(s)

  Wakamatsu Miki & Tsuda Ikuko Free Dance Performance

  Director/Choreographer

  Miki Wakamatsu, Ikuko Tsuda

  Venue

  Yomiuri Hall

  Year performed

  1977

• Deadpan : intention

  "DEADPAN refers to the expressionless and serious manner of saying something often to comedic effect.
  
  The sound was provided by DJ Howie B, who was well-known at the time, and there are a few famous rock stars in the audience.
  The last few minutes of the performance are cut off in the video, but according to Oguri's memory, the performance ended without any further dance sequences."

  

  Performer(s)

  Naoyuki Oguri

  Director/Choreographer

  Oguri

  Venue

  Project Arts Center (Dublin)

  Year performed

  1996

• Dedicated to Janis | On a Poem by Joseph Brodsky

  - Winter Teachings -
  Let's wander the wild lands at the edge of the world.
  The land of wolves is my country.
  (From the words of the Sioux Native Americans)
  
  The piece begins with a recitation of a poem by Joseph Brodsky (1940-1996), a poet born in Leningrad and exiled to the United States. Yuko Yuki performs a solo dance to Janis Joplin's "Summertime".

  

  Performer(s)

  Yuki Yuko

  Director/Choreographer

  Yuko Yuki

  Venue

  Hirosaki Orange County

  Year performed

  2009

• Den Den Den

  Oguri's first solo performance after moving to Los Angeles in 1991. Originally presented as 'Untitled', the title was decided on the spot after a request from management. To this day Oguri continues to collaborate with composer Paul Chavez, who was in charge of sound for this performance. The venue, Los Angeles Contemporary Exhibitions (LACE), was a place of radical avant-garde art in one of the roughest areas of downtown Los Angeles. Housed in a brick building covered in barbed wire, performances attracted members of the punk scene and the gay and lesbian community, among others. Now relocated to Hollywood Boulevard, it continues to put on exciting programs.

  

  Performer(s)

  Naoyuki Oguri

  Director/Choreographer

  Oguri

  Venue

  LACE (Los Angeles Contemporary Exhibition)

  Year performed

  1992

• Detainen Konchikisho (Damn! want out!)

  This work asks what independence means for people with disabilities, to find resources for the daily lives of people with disabilities in institutions where they are placed under the control of able-bodied people and live a dehumanised life - what is the key to unlocking the door to their freedom, to liberate people with disabilities?

  

  Performer(s)

  Performance Troupe TAIHEN

  Director/Choreographer

  Yoshikiyo Kontani, Masayuki Kashiwagi

  Venue

  Seibu-kodo Hall of the Kyoto University

  Year performed

  1986

• Dialogue

  Kandinsky's paintings expressed with the body. Original live music performed by chamber rock band ZYPRESSEN.
  
  - Yonei Sumie Dance Performance held at the Yokohama Art Wave '89 commemorating centennial history of Yokohama city as well as 130-years history since the opening of the Port of Yokohama.

  Performer(s)

  Yokohama Art Wave '89 - Yokohama International Theatre Art Festival

  Director/Choreographer

  Sumie Yonei

  Venue

  Osanbashi Yokohama

  Year performed

  1989

• The Diamond as Big as the Ritz

  A Japan / Europe / Africa co-production -Theatre Dance Project 1991
  
  "In 1933 King Kong symbolized the male principle. Half a century later, he became the symbol of the "earth", "water" and "pride" in the entire world that is just about to succumb to the power of wealth. This is the time to send a tender hurrah to King Kong who is wounded by the impossibility of love. Or, is it already too late?"
  - from the Anzu Furukawa's programme notes
  
  Act 1: Mr. IN AND Mrs. OUT
  Act 2: NO WHERE MAN
  Act 3: LOVE, UNCOMFORTABLE TO WEAR
  Act 4: ORIENTAL THREE DOCTORS WHO BRIBED GOD
  Act 5: RHAPSODY IN BLUE (1.The moon-blown shell & The looking-glass shell / 2. Attack / 3. Seed / 4. Victim / 5. Orderly / 6. Ghost and Sentry / 7. In a dream of King Kong)
  
  - This piece was also performed at the Nagoya Civic Hall on 12 July 1991.

  

  Performer(s)

  Anzu Furukawa

  Director/Choreographer

  Anzu Furukawa

  Venue

  PARCO THEATER

  Year performed

  1991

• The Dog – Eleven Questions to the Answer ‘Dog’

  First piece from the 'Anzu’ology' series, a collection of works created from the voices of animals "awakened from the dark, chaotic memories of this world and the next", and also featured creatures such as insects and crocodiles. First performed in Freiburg (Germany) in 1987.
  
  - A young man's ultimate destination is, as expected,
  That cosy room with a fire burning brightly.
  A dog flies straight in.
  Suddenly, a charlatan at the window. -
  
  -Anzu’ology: Anzu's Altas of Animals I

  

  Performer(s)

  Anzu Furukawa

  Director/Choreographer

  Anzu Furukawa

  Venue

  Jean-Jean

  Year performed

  1987

• Double Bind – Yesterday -　

  In 1982, Hiroshi Kawani and Toshi Tanaka started a duo call Mouthpiece at Terpsichore in Nakano, Tokyo. They then began collaborations with Kei Kato, Toshihiko Furuya and others.
  They created a method using voice and improvisation inspired by Antonin Artaud, and put on live performances that experimented with the intersection between different genres. 'Double Bind' was effectively their final full performance as Mouthpiece.
  
  -Performed on 24 June as 'Yesterday' and on 25 'Tomorrow' as a part of STUDIO 200 LIVE PIECES.
  -The piglet that appeared on the 1st day died the next morning, and did not appear on the 2nd day.

  

  Performer(s)

  Studio 200

  Director/Choreographer

  Mouthpiece

  Venue

  Studio 200

  Year performed

  1983

• Double Bind – Tomorrow –

  "In 1982, Hiroshi Kawani and Toshi Tanaka started a duo call Mouthpiece at Terpsichore in Nakano, Tokyo. They then began collaborations with Kei Kato, Toshihiko Furuya and others.
  They created a method using voice and improvisation inspired by Antonin Artaud, and put on live performances that experimented with the intersection between different genres. 'Double Bind' was effectively their final full performance as Mouthpiece."
  
  - Performed on 24 June as 'Yesterday' and on 25 'Tomorrow' as a part of STUDIO 200 LIVE PIECES.
  - The piglet that appeared on the 1st day died the next morning, and did not appear on the 2nd day.

  

  Performer(s)

  Studio 200

  Director/Choreographer

  Mouthpiece

  Venue

  Studio 200

  Year performed

  1983

• Dream, After a Treat

  The last days of a king as a metaphor.
  A tyrannical emperor is on the road to downfall. Generals disobey, mistresses flee, the king is captured and sentenced to execution.
  Whoever captures the king becomes the next king. Until yesterday it was the king's clown.
  A king on his deathbed. The irony of life, it's 'a one-time dream'.
  A metaphor for the end of youth, retirement, the decline of the body, the rise and fall of prosperity, and the changing seasons of nature.
  If the next king was a clown yesterday, then previous kings were once clowns too.
  
  - Participated in the ACA National Arts Festival 1987

  

  Performer(s)

  Wakamatsu Miki & Tsuda Ikuko Free Dance Performance

  Director/Choreographer

  Miki Wakamatsu,Ikuko Tsuda

  Venue

  Yomiuri Hall

  Year performed

  1987

• Dream: At the Moment it Starts to Disappear

  This work is a collage of fragments of various dreams, including scenes of China where Ishii Midori visited before the war. "At times the dream invites us to a dreamscape with smells, colours, light and heat intermingling, and at other times it becomes an imaginative journey in the blink of an eye."
  
  -This was the first work by Midori Ishii in many years after she lost her husband, the musician Izumi Orita, in 1972. He had been a great support for her and her dance company.
  

  

  Performer(s)

  Midori Ishii and Katsuko Orita Dance Studio

  Director/Choreographer

  Midori Ishii

  Venue

  Nissei Theatre

  Year performed

  1977

• Dreamtime: Where Do I Come From and Where Am I Going?

  'Dreamtime' is a mythical concept in Indigenous Australian culture, where the past, present, and future exist simultaneously. Starting with the question, "Where do I come from, and where am I going?" this performance was presented as an experimental live experience, featuring a collection of works that explore the layered flow of ancient, modern, and futuristic time. It delves into the various boundaries between Space/Earth, Human/Doll, and Life/Death.
  
  - 1993 Byakko-sha Live: A Collection of Works by Isamu Osuka / Commemoration of the Departure of the 2nd Five Continents World Butoh Caravan (1993: USA - South America, 1994: Taiwan) / In Memory of Michiko Aoyagi.
  - The video includes rehearsal footage.

  

  Performer(s)

  Byakko-sha

  Director/Choreographer

  Isamu Osuka

  Venue

  Chikiriya weaving factory <the site of Iwagamiza Theatre>

  Year performed

  1993

• Edo Mandala

  For this piece, Akiko Motofuji created a work which resonated with Tatsumi Hijikata's butoh as a mandala, with the use of stage art, lighting and music. She also endeavoured to incorporate the cultural sophistication of the Edo period (1603-1868) into her dance. Motofuji made use of the small space in Asbestos-kan to perform a piece of outstanding skill, and also showed the technical mastery of the other butoh dancers.

  

  Performer(s)

  Asbestos-kan

  Director/Choreographer

  Hironobu Oikawa

  Venue

  Asbestos-kan

  Year performed

  2003

• Egg in the Fire (reproduction)

  Cremation', part of a four-part butoh series named 'Funeral Series'. Original concept: 'Stanislav de Gala Soshaku Kōfujin' [Madame de Stanislav de Gala Mastication]. The flyer included an extract from 'The Tunnel' by Ernesto Sabato. "... Imagine a captain, ruthless and stern / keeping course towards his destination. / But / he doesn't know / why he's headed there."

  

  Performer(s)

  Daisuke Yoshimoto

  Director/Choreographer

  Daisuke Yoshimoto

  Venue

  Yuai-kaikan

  Year performed

  1984

• EROLA – Dream of Stone

  Hijikata Tatsumi said "all soft things will soon come under the control of hard things". What is the 'hard thing'? Is it iron, the bark of a log that withstands the wind, or the hardness of the spirit itself? "European dance is a crystal, a diamond. Butoh is a morning glory." What is butoh and what is the Japanese body? With themes of flowers, eros and crystals, the dancers paint an image of a sharp and hard butoh that depict the romanticism and eroticism of the body.
  
  - Waguri Yukio + Kozensha Butoh Performance

  

  Performer(s)

  Yukio Waguri + Kozensha

  Director/Choreographer

  Yukio Waguri

  Venue

  Park Tower Hall

  Year performed

  1997

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