The 3rd part Reprise attempts to reflect the past to connect Neji and myself into the future by creating our own contemporary tradition in the present time. During the play, our imagination is encouraged by quoting and referencing from a wide range of movement languages, gestures, representations and the production of cultural images in dance. “Reprise” focuses on the tension between our current body and the old form of dances that have already been established ages ago. What gaps occur? How do we make a space that the third thing could appear? The piece breaks the time, which seems to be linear and creates a new structure of time. It changes a 10-years gap into a 1-minute gap and shuffles time periods including their historical documentation out of their chronological order merging them together into permuted orders.


  • creating a possible future into a fictional past, to display our present
  • exploring history that is not written in history books
  • discovering unknown sides of history by creating a fictional past which never existed in history or disappeared or are still in shade


Questions about Butoh

  • How do we define Butoh in 2014?
  • What remained and what is inscribed in our body as a physical memory?
  • How do we navigate through this memory rather than simply displaying the general idea or image of Butoh?
  • How has Butoh been existing and defined through the years when different aesthetics and styles of dances came forth?
  • How did other dances emerge before and after Butoh was created?
  • What kinds of influences or relationships were there?
  • How do I deal with Butoh as an already established convention?
  • How can my work be fed or charged by material from the past?