Their main goal is to share the essential elements of butoh technique, linked to the heritage of Tatsumi Hijikata, as well as to the aspects that each master addresses through his or her artistic pursuit and current research.
Hiroko y Koichi Tamano (6 hrs.)
Kumotaro Mukai (8 hrs.)
Natalia Cuéllar (8 hrs.)
Yukio Suzuki (20 hrs.)
These are to be conducted by duos of Japanese and Latin American artists who seek to promote contemporary creation practices in which the process is prioritized as an essential element. Each lab will be a playful territory of reflection, research, and exploration.
Hiroko and Koichi Tamano – Eugenia Vargas (6 hrs.)
Kumotaro Mukai – Espartaco Martínez (6 hrs.)
Yukio Suzuki – Natalia Cuéllar (6 hrs.)
Kumotaro Mukai, Natalia Cuéllar, Hiroko and Koichi Tamano Workshops
$700 (Before February 19)
$900 (February 20 to March 7)
$1,100 (From March 8)
Yukio Suzuki Workshop:
$1,800 (Before February 19)
$2,000 (February 20 to March 7)
$2,200 (From March 8)
Choreographic Creation Labs:
$500 (Before February 19)
$600 (February 20 to March 7)
$700 (February 20 to March 7)
1 Workshop + 1 Lab*
$1,000 (Before February 19)
$1,300 (February 20 to March 7)
$1,600 (February 20 to March 7)
*Available only if the same artist conducts Workshop and Lab.
1. Send an e-mail to danzateatroritual@gmail to reserve your place.
2. You will receive an application that you must fill in and send back to the same e-mail address.
3. Make the payment through bank deposit to the account number which will be given to you.
4. You must complete the procedure within four business days from the reservation request in order to keep your place.
5. Send a copy of the deposit slip to the same e-mail address.
6. You will receive a confirmation via e-mail.
7. In case no deposit slip copy is sent, the Laboratorio Escénico Danza Teatro Ritual is not responsible for the registration.
-Workshops are limited to 30 participants.
-The registration is non-refundable and non-transferable.
-No certificates of participation are awarded unless they are requested while the registration process is done.
- Photos and video are no allowed during Workshops and Labs.
-The reservation will be cancelled if the deposit is not made within four business days.
Homage to Ko Murobushi
Thursday, April 7, 20:00 hrs.
Foro del Dinosaurio
As part of the activities, there will be a posthumous homage to the master Ko Murobushi who died last year in Mexico. A great master and one of the most outstanding butoh dancers, he was also promotor of this discipline in Latin America.
Also, recognition will be given to the masters Hiroko and Koichi Tamano, dancers of the first butoh generation. This tireless couple continues to share the richness of their dance in Japan, the United States and Mexico.
Conference Tatsumi Hijikata’s Butoh
Given by: Takashi Morishita
Saturday, April 9, 18:00 hrs.
Foro del dinosaurio
Takashi Morishita is the director of the Hijikata Archive (Keio University Art Center, Japan). He has worked in Tatsumi Hijikata’s Asbestos Studio as a producer and assistant since 1972. He is the author of several essential books on Hijikata’s butoh.
Tatsumi Hijikata disseminated the art of butoh, a discipline that emerged in Japan as a new form of expression that annihilated the conventional concepts of dance; nowadays, it is known internationally.
More than half a century has passed since he created and performed Forbidden Colors (1959), considered the first butoh piece. For decades, this dance genre has not only prevailed but also extended its influence to artists from all around the world.
Laboratorio Escénico Danza Teatro Ritual
Friday, April 1, 20:00 hrs.
Aoi Hana – gazing inside of myself, there is a blue flower blooming –
Hiroko y Koichi Tamano
Saturday, April 2, 19:00 hrs.
Recognition to Hiroko and Koichi Tamano, 20:00 hrs.
Ja yi me ma shi te
Kumotaro Mukai y Espartaco Martínez
Sunday, April 3, 18:00 hrs.
Friday, April 8, 20:00 hrs.
Saturday, April 9, 20:00 hrs.
Sunday, April 10, 18:00 hrs
General admission: $100
Students, teachers, INAPAM, UNAM admission: $50
Exhibition in collaboration with The HijikataTatsumiArchive, from Keio University Art Center.
More information soon.
Internationally known for being part of the first generation of butoh dancers, they are both pioneers and the main conveyors of butoh in the United States. Koichi was one of Hijikata’s main dancers; he participated in Rebellion of the Flesh, considered the centerpiece of Ankoku Butoh.
Hiroko joined Hijikata’s company in 1971 and was a dancer during the time when the choreographer worked intensely with women. They both received the Isadora Duncan Award in 2005. The dance of the Tamanos comes from images lying in the subconscious, which they use to create a dreamy atmosphere.
He is one of the most representative butoh dancers from the new generation. In 1997, he began his training at Asbestos House and later performed in many works by KoMurobushi, one of the leading masters of the first generation.In 2000, he founded his dance company Yukio Suzuki Projects and has been guest choreographer in other companies, such as Tokyo City Ballet. Suzuki’s dance pieces emphasizes on maximizing the dancers’ characters and his work has received numerous honors, likethe Toyota Choreography Awards (2008).
He is one of the most prominent figures of the underground contemporary Japanese dance. For almost 20 years, he was member of the emblematic Dairakudakan butoh dance company, directed by Akaji Maro (direct disciple of Hijikata). He was awarded by the Japanese Dance Critics Association in 2005. His work revolves around the questions of what is dance and what is performing expression, placing special emphasis on the sense of humor.
He is an actor and dancer. He received a scholarship from the Mexican National Fund for Culture and Arts (FONCA) in 2006 to study in Japan, where he was a part of Akaji Maro’s Dairakudakan company. He has toured and collaborated with different artists in Mexico, Brazil, Korea, Germany, the United States, and Japan; among which are Daisuke Yoshimoto, and Taketeru Kudo. He coordinated the play Galileo, unfoso (2009) along with the (Mexican) National Theater Company and the Dairakudan company. This artist is in permanent quest for different discourses-processes about the conception of performing arts, particularly clown and butoh.
She is an actress and director of the Ruta de la Memoria company, a disciple of Makiko Tominaga, Akaji Maro’s disciple, and Dairakudakan company’s dancer. Natalia Cuéllar worked as a performer in the German company Antagon Theater, directed by Minako Seki, another distinguished butoh dancer and choreographer. She was awarded in the Theater Directors Festival of the University of Chile (2008). Her projects deal with topics related to memory, gender, and human rights.
Founded by Eugenia Vargas, this dance company explores expressive possibilities of the body from butoh dance. One of their main work has been the organization of artistic residences with importantbutoh teachers from all around the world, this has led the company to expand their work from production, to training and promotion of butoh dance in Mexico. LEDTR has received Mexican cultural grants and performed in recognized theaters,Butoh and Dance Festivals in Mexico. Furthermore, in 2015, LEDTR participated in the II International Butoh Festival: Cruces y MiradasReflexivasFiButoh(Santiago, Chile) and in Psi 2015 Tohoku: Beyond Contamination Conference (Aomori, Japan).