togei wrote:Thanks for the link.
Very interesting comment about moving the genre forward.
When I came to Japan way back I was doing performance art. One of my initial projects, not completed, was to do performances on a new way to do the tea ceremony. I came here to study Ankoku no Butoh and my aesthetic was, and probably still is, influenced by Hijikata and Ohno of Butoh fame. I started researching spaces for the project. If you have ever been to the Osaka Sky Building, coming from J.R. Osaka via the underground tunnel you will have passed through one of my main performance space interests. I had very interesting reactions to my idea to move the tea ceremony from a tea room out into the 'real' world, none of it positive. I don't say that as a judgement about Japanese people but more as a comment on what the ceremony represents here in Japan and how 'moving it forward' is in itself an interesting concept.
Thanks Dave and Tead Off.
I understand what you're saying Dave as I sometimes feel that many people, not just in Japan but worldwide, interperate tradition with the repetition of what's come before rather than a wonderful foundation to build into the future on. I saw this in Mungyeon as I urged younger potters to really look at what was before them and then digest and move it forward.
As one working on the edge of the "tea world", read Sadou, who makes tea dogu which hopefully function as such but also strive to function on more conceptual levels ( ie. chawan hewn from blocks of ice reflecting the temporal/fleeting nature of life, 儚い, after the on going Tohoku disaster) I feel much of Sadou outside of Japan has somewhat ossified. Again I am somewhat distant from it here. Returning to Japan however, I find a huge sense of liberation/relief and creative freedom as I see/know of many younger chajin/architects as well as potters who are working to keep the "tradition" alive by moving it forward..... giving oneself permission. It is Rikyu's shu-ha-ri in practice.
Another view of Matsumura-san's Shuhally in Yokohama.http://www.cera.co.jp/column/casestudy/041/
Tead Off wrote:Motofuji died in 2003. Their famous studio, Asbestos, was sold. We lost touch with the daughter.
Through my wife, I know many dancers and also get to see performers, especially from Japan. It doesn't surprise me that many talented dancers need to work at other jobs to support themselves. Public funding and general interest in cutting edge dance is limited. Koichi Tamano and his wife run a restaurant in S.F. These 2 are genius performers and the heirs of Hijikata.
My first Japanese language teacher when I lived in Kyoto in the late 80's was reknown butoh dancer Katsura Kan. None of us in our small class of 3 or 4 knew who he was until one day he showed up in class only wearing a loin cloth. He then proceeded to "draw" kanji with his body..... something I'll never forget.
Best to you both,