Podcasts about Butoh

This week I'm joined by Australian musician Gareth Liddiard (Tropical Fuck Storm, The Drones) who chose to discuss one of the greatest concert films of all time,  EINSTÜRZENDE NEUBAUTEN:HALBER MENSCH.We talk about how Tropical Fuck Storm made their own film (Goody Goody Gumdrops) during the pandemic lockdown, Gareth playing shows with Neubauten, how TFS writes their brain-melting songs and how Neubauten's influence crept into their work, TFS having to leave Melbourne due to economics, making their music using equipment they didn't know how to use, how not to be too good at guitar, the influence of Greg Ginn, John Coltrane & Jimi Hendrix, Thrasher magazine, the current difficulties of touring the States, blowing things up in music videos, industrial high-school study music, Neubauten playing inside an actual freeway, how Neubauten are The Beatles of the industrial world in terms of charisma, how the film transcends pretension, Butoh dancers, Tarkovsky's Stalker, the microphoned shopping cart, Blixa's take on The Police, how the film is so well scripted and shot by filmmaker Gakuryū Ishii, how the legendary music producer Gareth Jones recorded one of the most expensive industrial records of all time and more. So let's set our instruments on fire and the music to stun on this week's episode of Revolutions Per Movie!TROPICAL FUCK STORM:https://usa.firerecords.com/products/tropical-f-storm-fairyland-codexhttps://tropicalfstorm.bandcamp.com/album/fairyland-codexREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

Amidst the profound social change and political turmoil of post-war Japan, a bold generation of avant-garde artists and photographers emerged in the 1960s, forever transforming the global art landscape. Japanese Avant-Garde Pioneers' director Amélie Ravalec attended the Dutch premiere at De Balie in Amsterdam to talk about the film with our cinema curator Stefan Malešević. Watch the film screening of Japanese Avant-Garde Pioneers until June 23, exclusively at De Balie.The 1960s era in Japan was a time of profound social change, political unrest and student protests. The turbulent times of the postwar era inspired an artistic explosion in Japan, with the emergence of a revolutionary scene of avant-garde artists who pioneered many disciplines: experimental and erotic photography, “Angura” theatre and underground street performances, apocalyptic Butoh dance, surreal illustrations and seminal graphic design.A new aesthetic of photography was born: “Are, Bure, Boke” (rough, dark and out of focus), pioneered by Moriyama Daidō and the Provoke magazine photographers. Araki beautified bondage and Hosoe Eikoh sublimated the male body. Ishiuchi Miyako captured her experience of American military bases. Kawada Kikuji's era-defining photobook The Map captured the poignancy of Hiroshima's trauma.Master of underground theatre Terayama Shūji produced countless magical, surreal and vividly colourful films, plays and photobooks, Yokoo Tadanori and Awazu Kiyoshi revolutionised graphic design with their incandescent theatre posters, Tanaami Keiichi, Japan's answer to Andy Warhol, developed his unique kaleidoscopic vision of Pop-Art, and Butoh founders Hijikata Tatsumi and Ohno Kazuo impacted modern dance forever with their dance of darkness and light.Watch the official trailer here.Get your tickets for the film screening at De Balie here.Intro music: Andrii Poradovskyi---Want to know more about Forum on European Culture? Here you can find more information.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Wohlan, Margarete www.deutschlandfunkkultur.de, Nachspiel

The Body as a Vessel: Conversation with Butoh dancer Genevieve Jencson and students in Cleveland, Ohio after a 3-day Butoh workshop led by Vangeline.Recorded in Cleveland on April 27, 2025.https://www.instagram.com/genevieve_violet/

“Tutte le cose sono nate da un solo fuoco” affermano i frammenti degli Oracoli caldaici. Elios, Ἠλιος in greco omerico, è il dio del Sole, spesso raffigurato con una corona raggiante, che guida un carro trainato da cavalli nel cielo. Nell'alto del cielo, Elios tutto osserva e tutto conosce, persino il ratto di Persefone non riesce a celarsi al suo sguardo onnisciente.Come scrive Macrobio nei Saturnali: “Se il Sole, secondo l'opinione degli antichi, detiene e governa tutte le altre stelle e le presiede solo nel movimento dei pianeti, e se è vero che le stelle con le loro orbite regolano l'ordine degli eventi umani, dobbiamo necessariamente considerare il Sole come supremo governatore del nostro destino: l'origine di tutto ciò che accade intorno a noi.”In effetti, senza lo splendore della danza del Sole, non solo non ci sarebbe luce per il nostro pianeta, ma non si sarebbe nemmeno potuto formare il sistema solare. Il Sole è al centro della nostra esperienza del ritmo dell'esistenza. Distingue il giorno della notte, porta a maturazione i frutti della terra, controlla il ciclo delle stagioni, contribuisce al ciclo dell'acqua. Possiamo affermare con certezza che tutto quello che accade sul pianeta Terra dipende dalla sua posizione rispetto alla stella che noi chiamiamo Sole.Ti invito a guardare il trailer del mio film Spring of a Dancer e a leggere il mio nuovo libro Primavera di un danzatore su Amazon Libri. 

Chiedersi che senso ha danzare oggi è una delle domande che mi stanno a cuore da quando ho cominciato a occuparmi di danza. Come la danza butoh ci invita a dissacrare le convenzioni e a perlustrare i territori che mettono in discussione i confini tra maschile e femminile, vita e morte, grazia e volgarità; così il pensiero filosofico ci invita a mettere in questione le nostre credenze, predisponendoci al gusto per la domanda e per la critica, piuttosto che accontentarci delle risposte che siamo in grado di fornire oggi o che ci consegnano i nostri antenati.La filosofia ci invita a scostare i veli delle apparenze per dedicarci al senso incontrovertibile della verità, senza mai stancarsi di criticare sé stessa e arrivando quindi a mettere in discussione il senso stesso dell'incontrovertibile. Solo la filosofia, infatti, si pone la domanda sulla verità e continua incessantemente il suo esercizio critico, senza accontentarsi mai delle risposte che man mano emergono da questa ricerca.Per non rimanere imprigionati nel nostro piccolo mondo, la danza butoh e la filosofia ci chiamano a oltrepassarci e a porci quelle domande fondamentali che i nostri antenati si sono posti sin dai tempi della caverna: chi siamo, da dove veniamo, dove andiamo?Ti invito anche a guardare anche il trailer del mio film Spring of a Dancer e a leggere il mio nuovo libro Primavera di un danzatore su Amazon Libri. 

We meet Irish screen and theatre actor Stephen Rea, who talks about meeting Samuel Beckett early in his career. Rea so wanted to perform Beckett's play Krapp's Last Tape, he had the foresight to record his youthful self reading it. In his new production at Adelaide Festival, the audience gets to hear those recordings.We head Back Stage to the hat maker's studio! In fiction there are lots of characters who are famous for their hats. Robin Hood. Sherlock Holmes.  Lady Bracknell (she needs a ridiculous hat). In our new series Back Stage, Michael meets theatre milliner Phillip Rhodes, who reveals how hats bring a character to life. Butoh is a dance form that started in Japan in the 1950s and was called 'the dance of darkness'. Dancers often wear white body paint and explore raw psychological states. But it can also be outrageous and funny, as veteran performer Yumi Umiumare tells us about her own life practising Butoh. Yumi's latest show is Butoh Bar: Out of Order II for Asia TOPA.

Il confine tra ciò che è vivo e ciò che è morto non è così netto. In questa terza stagione di Lettere a mia mamma ti invito a intraprendere un viaggio poetico e filosofico in cui la danza diventa il linguaggio dell'invisibile. Attraversando il dolore del lutto, ho imparato che ogni fine è già un nuovo inizio. Nessuno di noi vuole soffrire, certamente. La vita può essere difficile. Eppure, in mezzo alla tempesta, potremmo sorprenderci, rivolgendo lo sguardo oltre la nostra cornice di pelle. Come la fatica delle gemme, durante l'inverno, possiamo lasciar sbocciare una nuova danza, quando giunge la primavera. Per questo motivo, con questa nuova stagione, ti racconterò del mio nuovo progetto: primavera di un danzatore. Spero che ti colga in un momento di ispirazione. Ti invito anche a guardare anche il trailer del mio film Spring of a Dancer e a leggere il mio nuovo libro Primavera di un danzatore su Amazon Libri. 

Mezzo-soprano Jamie Barton joins ‘City Lights’ ahead of her upcoming performance at Spivey Hall on January 19. Plus, Choreographer Frankie Mulinix discusses the art of Butoh dance, Dr. Scott Stewart joins us for our series, Music in Media, and gallerist Shawn Vinson details the joint grand openings of The Sun ATL and One Contemporary Gallery.See omnystudio.com/listener for privacy information.

Thomas and Panu had a mindful dialog about the end of the year to new year's transition. Looking back on 2024, they noted the significance of Panu's climate emotions wheel for people new to expressing feelings about climate and environmental issues, the challenges of being seen as an expert, and the importance of taking regular breaks to appreciate our efforts and accomplishments (or what Thomas calls a “behavioral sabbath”). Looking ahead, they shared the embodied activities they each do like cross country skiing as ways to recreate and restore themselves, and taking on new creative past times like training in Butoh theater (for Panu) and drumming (for Thomas). Ultimately, they emphasized the need for seeking joy and gratitude in the face of sorrows of the world, and the importance of giving oneself and others permission to feel happiness.

This episode was recorded on December 15, 2024. in Zipolite, Mexico, as the conclusion of a 7-day Butoh immersive retreat at the Butoh Sanctuary where Vangeline guided 18 students from all over the world to create their own Butoh piece. In this episode, you can listen to each participant's experience during our final circle. This episode is both in English and Spanish with some interpretation. To learn more about Butoh Sanctuary, visit www.butohsanctuary.org

Conducción: Begoña Lomelí y Sofía Solorzano. Producción: Armando Tiburcio. Sistema Jalisciense de Radio y Televisión. Escucha la música del día dando ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠clic aquí⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Visita: www.jaliscoradio.com Fecha: 20 de Noviembre del 2024

In this episode, while in Rome, Vangeline had a conversation with dancer, performer, and visual artist Melissa Lohman, talking about the body, dance, Butoh, and the practice of Noguchi Taiso. You can follow Melissa on Instagram @melissarlohman https://www.melissalohman.com/

In this episode recorded in Denmark, I had a conversation with actress Christine Albeck Borge and Ballet dancer and choreographer Oliver Marcus Starpov, following our week-long creative research project combining Butoh, theater, and dance, with also director Liv Helm. Here is our reflection on the interaction of Butoh, dance, and theater. https://www.instagram.com/allmyfriendsaresuperheroes/ https://www.instagram.com/christinealbeck/ @livhelm

A couple weeks ago I heard a sound near our back screendoor, as if an animal were wrestling with a large bag of cat food. I assumed my cat Sasha was trying to break into her bag of treats, and noted the sound but didn't respond right away.A few minutes later, the sound long faded, I went to check on Sasha to see how far she got with trying to claw her way into her treat bag. As I approached the backdoor I did not find Sasha, nor a clawed open bag of treats. Our screen door was open to the size of Sasha, outside her large bag of cat food lay open on the porch stairs. As I stood, stunned at the sight of a catless night—Sasha whipped around the backyard chasing something that remained in the shadows, her tail puffed out to the size of a racoon's tail.I have been thinking about wanting. Hunger. The pull of a certain kind of desire to grasp for, reach out for…something else. This energy often creeps up the stairs of my body from somewhere in the dark and before I even realize it my hand is holding my phone, or reading news headlines, or I'm fixing myself a snack or another cup of coffee.This time of year wanting seems heightened.Something about the seasons turning deeper into autumn. Trees shedding leaves as the sun looms lower in the fading day-lit sky.The animal in us is preparing to hibernate. The hungry heart is trying to find nourishment. The pull to nourish, to find safety— in the midst of an uncertain world heightened by a polarizing election, on-going war and climate instability—is completely natural. Our bodies and nervous systems seek balance.Yet what is nourishing? What is safety when the ground appears to be constantly moving? Who is the one whose hand slips up from the shadows, then vanishes back into hiding, as spirals of shame circle?You just wasted an hour scrolling. I can't believe you ate that. Wow, you pressed snooze again?  You're worthless. Unloveable. Unfit for human consumption. The shame says…When I lived at Great Vow Zen Monastery we had a practice of singing to the hungry heart. Calling to this part of us, this part of others and our world. And instead of shunning it or throwing shade on it or blaming and shaming it—we would invite a spirit of welcome, acceptance, love and understanding.The chant is called the Kanromon and was written together with Krishna Das and Bernie Glassman. Here are the words, if you would like to sing it too.Calling all you hungry hearts. Everywhere through endless time. You who wander, you who thirst.I offer you this bodhi mind. Calling all you hungry spirits. All the lost and the left behind. Calling all you hungry hearts. Everywhere through endless time. Gather round and share this meal.Your joy and your sorrow, I make it mine.It is part of a ceremony for the hungry heart, called the gate of sweet nectar. A version of this ceremony is part of the daily liturgy at Soto Zen Monasteries in Japan.It is one of the songs from our liturgy that I brought into my practice outside of the monastery walls. I sing it on walks through town, sometimes before I eat a meal, to my cat and before my altar with a stick of incense as my heart opens to the size of the world. It is a song of offering. It is a song of deep love. It's a song that lets me be lost—a song that speaks to those in the shadows. It has the power to save a ghost. To make the lonely, smile. It empowers us to hug our demons, and face the unpredictability of life in human flesh.This week I had the opportunity to facilitate and participate in three practice communities where we gathered together to welcome the hungry heart. The gatherings were simple. We sat in loving awareness and invited our hungry hearts to the table of our lives. And, through our collective attention, love and understanding the hungry part was given space to tell + show what it wants and needs, and then experience a deeper form of nourishment. The nourishment of compassionate attention and collective witnessing is powerful. When parts of us are hidden in shame, they often feel like they are the only ones who feel this way. Or that they are fundamentally wrong, or unloveable, or unworthy.To integrate the hungry heart into our lives, to invite them into the light of awareness— is healing. It's like reclaiming a piece of our nature. For in that invitation, transformation starts to happen, true nourishment becomes possible.As we head into election week, I feel it's important to remember my vows to myself and this world.I vow to create sacred spaces in this violent and beautiful world where we:* Center healing* Remember our true nature* Challenge our assumptions* Turn towards the shadow* And live as if love were the pointWhat are your vows? How do you intend to show up in this unpredictable, precarious, ever-changing experience we call human life, or the world, or america?Current OfferingsSpiritual Counseling — I practice at the confluence of spirituality and psychology, integrating mind, body and spirit. Spiritual Counseling can help you:* Companion Grief + Loss* Clarify Life Purpose* Heal Relational Conflict + Inner Conflict* Work with Shadow Material* Heal your relationship with Eating, Food or Body Image* Spiritual Emergence* Integrate Psychedelic or Mystical Experiences* Move Through Creative Blocks, Career Impasses and BurnoutIn addition to my Zen training, I am trained in Buddhist Psychology, Internal Family Systems (IFS), Dream Work, Hakomi (Somatic Therapy), Process Art and Mindful Eating. My approach also has a deep Jungian influence.Astrology— I am starting to offer astrology readings. I have found astrology to be a helpful map for connecting to the more mythic unfolding of life. It can help us honor our gifts, navigate challenges, get perspective and connect with planetary allies. It can also offer guidance on the questions that arise in our lives and aid us in stepping more fully into our wholeness. I am currently offering the following types of readingsNatal Chart ReadingsAstro Counseling PackageTransit ReadingsGreat Work of Your Life ReadingMonday Night Meditation + DharmaEvery Monday 6P PT / 9P ETJoin me on zoom for 40 minutes of meditation and a dharma talk. We are currently exploring a text called The Eight Realizations of Great Beings, which gives us an opportunity to practice inquiry and embodying love as we discover our Awakened Nature together.This event is hosted by the Zen Community of Oregon. All are welcome to join. Drop in any time.Zoom Link for Monday NightSky + RoseWhat is it? An experiment in the impossible task of excluding nothing and loving everything. An alchemy of play, presence and wandering into the shadows, you could say.Sky & Rose is a practice container that will:* Center group parts work practices to explore the fluidity, span and dream of who we are - somebody, nobody, everybody. You will be invited to express yourself vocally and physically, engage your imagination and play outside habituation.* Do interpersonal and group meditation practices of seeing, being and awakening.* Directly explore emotional embodiment & shadow work* Include Beauty, Art & Wonderment as core practice elements Through rituals of imagination, meditation technologies and co-created fields of intentional play, we can slip out, for a time, of confining identities defined by our histories, culture and comfort.Delivered by these practices, we can begin to inhabit perspectives and modes of being that stretch our sense of the possible and refresh our sense of the everyday. You might find yourself wearing Luminosities face or inhabiting Laughter's chest. Together we might try out Venus's view of the very life we live or we might make space to feel Chaos's dance and shake off some rigidity.All of these are just examples of where our wondering and feeling into places of vitality and expansion may take us.We will rebel against the quotidian and respect ourselves too much to only have crumbs of the sacred!It was also be a time to work together with the challenges to living heart forward with sanity and presence within this hyper-fractured funhouse/madhouse world.Sky and Rose is a place for Jogen and i to invite you into practices and explorations of 'soul work' that are not part of the Buddhist tradition but that have nonetheless been sources of growth and joy for us. Our influences in this include Paratheatre, IFS and Voice Dialogue, Hakomi, Process Work, Butoh, Jungian dream work and more.We initiate Sky & Rose as an experiment in embracing Spirit and Soul simultaneously, together imagining and practicing interpersonal liberation, playfulness and spaciousness in this time of deep adaptation.Meets monthly on Sundays from 10:30A PT - 12:30P PT / 1:30P ET - 3:30P ETNext Session is on Dec 1I'm Amy Kisei. I am a Zen Buddhist Teacher, Spiritual Counselor, budding Astrologer and Artist. I currently live in Columbus, Ohio with my partner Patrick Kennyo Dunn, we facilitate an in-person meditation gathering every Wednesday from 7P - 8:30P at ILLIO in Clintonville through Mud Lotus Sangha. If you happen to be in Columbus, feel free to stop by. We have weekly meditation gatherings and monthly Saturday offerings as well. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amykisei.substack.com/subscribe

As part of Autumn Ango with the Zen Community of Oregon, we are contemplating a text called the Eight Realizations of a Great Being. A text that some sources say is the last teaching that the Buddha gave. We are working with an interpretation by Thich Nhat Hanh edited by Hogen Bays, Roshi.I want to start this reflection with a poem that was read to me by another Zen Teacher, Daniel Terrango during a sesshin he led here in Ohio a couple of weeks ago. I felt fortunate to get to sit sesshin with him, and to receive this poem. It's one of those poems, at least for me, that I want to pass along.I Was Reading A Poem By David RutschmanI was reading a poem by Ryōkan about a leaf, and how it showed the front and the back as it fell, and I wanted to call someone — my wife, my brother — to tell about the poem.And I thought that maybe my telling about the poem was the front of the leaf and my silence about the poem was the back.And then I thought that maybe my telling and my silence together were honestly just the front of the leaf, and that the back was something else, something I didn't understand.And then I thought that maybe everything I understood and everything I didn't were both actually just the front of the leaf — so that the totality of my life was actually just the front of the leaf, just the one side — which would make the other side my death. . . .Unless my life and death together were really still only the front of the leaf?I had left the branch. I was falling.I was loose now in the bright autumn air.Now the first realization.All the world is impermanent. The earth is fragile and perilous.The four great elements are both suffering and emptiness.In the five skandhas there is no self.Everything that arises, changes, and perishes, is illusive, unreal,and without a master.Thought is the root of suffering, The body a reservoir of desire.Thus, observing and contemplating, one gradually breaks free frombirth and death.Here in both the poem and realization—we are invited to really take up impermanence as a contemplation. In Buddhism impermanence is considered one of the marks of existence. My teacher Hogen Roshi would often say that these marks are part of what make a teaching, a dharma teaching, so he would encourage us to consider them whenever we gave a dharma talk.The marks are:* Impermanence—insight into change, on the minute moment to moment level as well as on the level of our own lifespan, the lifespans of institutions, societies, world systems, the earth itself. This insight is to really see directly that all things are of the nature of change.* No-fixed-self—nothing is fixed, everything is in relationship, not a single thing or being exists independent of others. We interare, our nature is shared.* Dukkah/Nirvana—we suffer when we want things to be different then they are, whether that is trying to get rid of an experience we don't want or trying to get more or hold onto to something that we do want, recognizing this we can discover through practice how to attune to the true nature of things as they are, which is interconnected, not-separate and flowingThe Buddha said: All the world is changing. We can not hold on to a single thing. Even the earth itself, our home is fragile and perilous. The four great elements (water, fire, earth, air/wind) can cause suffering, but are empty in their nature (composed of other parts, interdependent, spacious).How is this true in our experience? All the world is changing. Such a beautiful mantra. The poem I read in the beginning captures the beauty and mystery of a single leaf falling, and how in very real ways this is like our life, we are floating, tumbling, dancing, falling through space. We are really bearing witness to the unreliable nature of the earth itself, how the lives humans built isn't sustainable with the earth's natural balance. And we are seeing the loss and destruction from these great hurricanes. I happen to have many acquaintances, friends and teachers who live in the Asheville area. There has been so much destruction, devastation and loss from the hurricane. Same too in Florida, in Nepal, in parts of Africa and Europe this year. All over the world beings are experiencing devastation, loss, pain and hardship due to Climate Instability—wildfires, smoke, floods, damaged water supplies, loss of housing and infrastructure—this is the world we live in now.And, the Buddha gave this teaching before cars and planes and the industrial revolution. The earth has always been fragile and perilous, there have always been storms, volcanoes, fires, floods. Great forces of destruction rising up from the earth, from the great elements. This contemplation of impermanence is an invitation to really look deeply into the nature of our experience. What happens when we allow the truth of impermanence to be here. What do we notice? How does attuning to impermanence, contemplating impermanence help us face the climate crisis? Does it?I was listening to a podcast interview with Susan Murphy who is a Zen Koan Teacher from Australia. She writes on Zen practice and the Earth. One of her first books is called Minding the Earth, Mending the World and her most recent book is called A Fire Runs Through All Things: Zen Koans for Facing the Climate Crisis.I want to share an excerpt from her book, for I feel it is a powerful meditation on how we contemplate impermanence and turn towards the climate crisis as part of our spiritual practice. She says:The times are always uncertain until we cease longing for certainty, and only then do they become truly interesting. The planetary crisis we're in together is now simply the given the strange, inarguable gift of what is. The fervent half-prayer of “Precarious!” overhears the realization that any escape is futile. Who now in good faith can dispute planetary heating and its appalling consequences and our drift toward civilizational suicide, ruined lands, biodiversity collapse, record-breaking megafires and megafloods, and new pandemics. And then there's our shadow pandemic, too: panic, confusion, and conspiratorial rage, shadowed by dread, anxiety, and depression.The planetary dangers that haunt us make our time an exquisite moment, piercing and inescapable. Also baffling to the point of provoking fresh realizations, hence the description of this time as a “gift” brimming with untested possibilities right along with potentially dire consequences. Dare we celebrate the way it stretches us, this strange privilege of being alive right now? Can we embrace the sheer lunacy of our moment, in which the biggest human “ask” in history up to now has chosen us?A koan scandalizes all suppositions (literal, rational, empirical, neurotic) that hold up the shaky sky of human knowing and fearing, until the leaves blowing in the street, the wave welling over a rock, the eyelashes of the cow all share the same realm as this mind. The shock of this can stoke new depths of fiery, fiercely protective love for the Earth. With luck, this love is fierce enough to protect our home from the worst impulses in ourselves and turn them to good.The ecocrisis of our time raises the question of the true nature of our human presence on the Earth as a koan that rightly exerts an almost overwhelming pressure on our hearts. It cannot be resolved, and the suffering it causes cannot be relieved without breaking through the paradigm that is so relentlessly causing it. Zen koans help us grow skilled in tolerating a precarious state of mind, and not turning away but growing curious instead. That we can't go forward in the usual way becomes the strangely valuable offer of the moment. Not-knowing, in the spirit of improvisation, accepts all offers! And the Zen koan turns every obstacle into the way.Take a despairing reaction like “There is nothing I can do to stop this disaster!” Looking beyond the ideas of “I,” and “stop,” and even the activity of “doing,” can we even dare to look deeply into the crisis and not-know what it is, or that it is so? Perhaps even disaster loses its power of impasse when scrutinized by a trusting form of productive doubt. Can something be done with less doing, using the calm inside the moments that can be created within an emergency when what is happening is met with not-knowing?The way we have framed reality is plainly out of kilter and out of date. Koan mind breaks the rigid frame and makes an ally out of uncertainty, asking it to be our guide in the darkness.Every koan has a bit of the apocalyptic about it, lifting the veil that this dream of a separate self throws over the wholeness of reality. Apocalypse implies destruction of a world, but hiding in that word is the older meaning, that of a necessary revelation, a veil torn away, leaving no choice but to see what is hidden from us in plain sight.Crises shape and transform us all our lives. The limitations that grow apparent to a crawling infant become the seeming unlikelihood of learning to walk. Impasse is the unavoidable opportunity to see beyond expectations, suppositions, and impossibilities as they crumble before our eyes. Crisis, whether at the vast or intimately personal level, is what reveals that there is no “normal,” despite all strenuous efforts to coax one into being. Not-knowing is relaxing into trusting this.…To truly contemplate impermanence invites us into this kind of not-knowing and opens the creative potential of any given moment. Because this is not fixed in place, we are not fixed in place. The world, our minds, our hearts are malleable–are flowing. And these words are just dead words until we really allow ourselves into the inquiry. The living contemplation—what am I? What if anything stays the same? What is my actual experience of change?Zen celebrates responsiveness, a responsiveness that comes from un-fixing ourselves from our fixed beliefs about how things should be, which actually allows us to respond to what is.We suffer impermanence because we expect it to be otherwise. We try to create structures, systems that will be reliable, predictable, and unchanging. We have cultural values that try to hide aging, death, disability, trauma—anything that pokes a hole in the narrative of stability and progress. So much of our systems, and therefore our thought processes, are not built on basic principles of how the world actually is, how life actually is. What would it look like if we lived rooted in this first realization: everything is changing, life is uncertain?What systems or structures or basic principles would we instill in our society if we really embraced the truth of change, transformation, death/rebirth, impermanence? As well as an understanding that we are interdependent, there is no I separate from you, this great earth, the creatures who live here, the plants, animals, rivers and each human being.So how do we practice impermanence? In meditation or in our direct experience outside of meditation we can tune into the constancy of change. Notice, really notice how the sensations in your hand change, if you really look, is there a single sensation that stays the same moment to moment? We can explore the direct experience of what I like to call radical impermanence—by exploring the changing nature of our sensory environment, the components of experience that make up our sense of self. Notice, how long does a single thought last? Can you grab hold of a thought? Do thoughts have a beginning, middle and end? What about emotions or feelings? Sounds?As we explore our experiential experience in this way, a real question can arise—what if anything remains? What continues? This kind of inquiry isn't meant to be done once, but is an on-going practice. How quickly do assumptions and predictions take over and have us believing again that we are permanent, solitary, independent and alone—and that our beliefs are unquestionably true?As I practice with impermanence, I have come to appreciate that change is beautiful, its necessary, the constancy of change allows each moment to arise fresh—never before seen or experienced. When the mind isn't dragging the previous moment onto the present, or reaching out for some future experience where we are redeemed or destroyed—what is this?It is also quite rich and worthwhile to take this contemplation of impermanence into our interpersonal relationships and our connection to life on earth or in this world.Grief, anger, rage, disappointment, sadness, numbness, confusion, despair are all companions of loss. If we learn to sit with and accompany these emotional responses with compassion and curiosity—they become part of the inner/shared journey on the realization of impermanence. They teach us what it is like to sit at the threshold of not-knowing, to find acceptance in the midst of whatever is happening, to find our way back to a love that is greater than fear. Some people are elders in impermanence, for they possess a wisdom that is gained through weathering loss. These people aren't necessarily old in years, but often the wisdom of loss does come with age—as we keep meeting the various uncertainties of life, the crisis points as Susan Murphy calls it, the moments of loss or change, be it the death of a loved one, a natural disaster in our town, war, loss of work, illness, accidents, injury, or living in a body that is aging—as we encounter impermanence with a learning attitude, insight deepens, gratitude grows, the waves of grief become waters we are more familiar navigating and perhaps we deeper our capacity to help others through them.Impermanence presents us with the koan that rests at the center of our lives as mortal beings—what are we? What is this life? What is death? Koans as Susan Murphy says, make us uncomfortable. If reading this first realization makes you uncomfortable, there is something here for you to deepen into, to stay with…We have two prayers in Zen that are prayers of impermanence, reciting them helps us turn towards and embrace the uncertainty of this life—to gain traction or companionship as we move through this changing world.The Five RemembrancesI am of the nature to die, I can not escape deathI am of the nature to have ill health, I can not escape having ill healthI am of the nature to age, I can not escapeAll that is dear to me and everyone I love are of the nature of change, I can not escape being separated from themMy deeds are my closest companions, I am the beneficiary of my deeds, my deeds are the ground on which I stand.Verse of the Diamond SutraA star at dawn, a bubble in a stream, a flash of lightning in the summer sky,A flickering lamp, a phantom and a dreamSo is this fleeting world…This writing is a draft of the dharma talk podcast you can listen to. At the end of the talk a sangha member offered a stanza from Mary Oliver's In Blackwater Woods as a capping phrase.To live in this worldyou must be ableto do three things:to love what is mortal;to hold itagainst your bones knowingyour own life depends on it;and, when the time comes to let it go,to let it go.I'm Amy Kisei. I am a Zen Buddhist Teacher, Spiritual Counselor, budding Astrologer and Artist. In my Spiritual Counseling Practice, I practice at the confluence of spirituality and psychology, integrating mind, body and spirit. I am trained in Internal Family Systems (IFS), Dream Work, Hakomi (Somatic Therapy) and Mindful Eating. Below are some of my current offerings.I currently accepting a couple of new clients if you or anyone you know is interested in Spiritual Counseling.Monday Night Meditation + DharmaEvery Monday 6P PT / 9P ETJoin me on zoom for 40 minutes of meditation and a dharma talk. We are currently exploring a text called The Eight Realizations of Great Beings, which gives us an opportunity to practice inquiry and embodying love as we discover our Awakened Nature together.This event is hosted by the Zen Community of Oregon. All are welcome to join. Drop in any time.Zoom Link for Monday NightSky + RoseWhat is it? An experiment in the impossible task of excluding nothing and loving everything. An alchemy of play, presence and wandering into the shadows, you could say.Sky & Rose is a practice container that will:* Center group parts work practices to explore the fluidity, span and dream of who we are - somebody, nobody, everybody. You will be invited to express yourself vocally and physically, engage your imagination and play outside habituation.* Do interpersonal and group meditation practices of seeing, being and awakening.* Directly explore emotional embodiment & shadow work* Include Beauty, Art & Wonderment as core practice elements Through rituals of imagination, meditation technologies and co-created fields of intentional play, we can slip out, for a time, of confining identities defined by our histories, culture and comfort.Delivered by these practices, we can begin to inhabit perspectives and modes of being that stretch our sense of the possible and refresh our sense of the everyday. You might find yourself wearing Luminosities face or inhabiting Laughter's chest. Together we might try out Venus's view of the very life we live or we might make space to feel Chaos's dance and shake off some rigidity.All of these are just examples of where our wondering and feeling into places of vitality and expansion may take us.We will rebel against the quotidian and respect ourselves too much to only have crumbs of the sacred!It was also be a time to work together with the challenges to living heart forward with sanity and presence within this hyper-fractured funhouse/madhouse world.Sky and Rose is a place for Jogen and i to invite you into practices and explorations of 'soul work' that are not part of the Buddhist tradition but that have nonetheless been sources of growth and joy for us. Our influences in this include Paratheatre, IFS and Voice Dialogue, Hakomi, Process Work, Butoh, Jungian dream work and more.We initiate Sky & Rose as an experiment in embracing Spirit and Soul simultaneously, together imagining and practicing interpersonal liberation, playfulness and spaciousness in this time of deep adaptation.Meets monthly on Sundays from 10:30A PT - 12:30P PT / 1:30P ET - 3:30P ETJoin us for our Opening Ritual + Practice exploringThe Ritual of LiminalitySunday October 27I currently live in Columbus, Ohio with my partner Patrick Kennyo Dunn, we facilitate an in-person meditation gathering every Wednesday from 7P - 8:30P at ILLIO in Clintonville through Mud Lotus Sangha. If you happen to be in Columbus, feel free to stop by. We have weekly meditation gatherings and monthly Saturday offerings as well. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amykisei.substack.com/subscribe

In this episode recorded during the New York Butoh Festival 2024, Butoh dancers and teachers Eugenia Vargas from Mexico, Natalia Cuellar from Chile, and Doctor Alice Baldock from Oxford University and I had a conversation about women and Butoh, Butoh in Latin America, and our relationship to Butoh as women. Get to know these extraordinary women who play a very important role in advancing the art form in the world. Read their biographies here: https://www.vangeline.com/calendar-of-upcoming-events/2024/10/14/panel-discussion-women-latin-america-and-butoh

Since leaving the monastery a few years ago, I have become interested in how the ancient Zen teachers talked about the spiritual path. Language about the realizations that compose awakening are nested in the Zen chants that I would chant daily as a monastic, but we were so immersed in the continuous-ness of practice, that rarely would we stop and try to map out the territory. We were living it, who needed the borrowed words of those long dead to put a conceptual overlay onto something so fleeting as experience?My teacher Chozen was fond of saying that Zen was a practice without guardrails or measuring sticks—we stumble around in the dark. And somehow in this stumbling, in the dark terrain of life before concepts— our faith deepens and our sense of self loses its limiting bearings in exchange for an indescribable vastness that belongs to no-one. Zen teachers over the years have said of Zen that, “it is good for nothing”, or “a practice of non-attainment.”Others, including the early founders of the Soto school, described or attempted to show through poetry and image, some of the dynamics at play in this “good for nothing” journey of “non-attainment” and spiritual maturation.Two such teachers are Zen Masters Shitou and Dongshan Liangjie. Shitou's famous work The Sandokai or The Identity of Relative and Absolute is still chanted at Soto Zen Monasteries and Temples all over the world. And Dongshan's Precious Mirror Samadhi, which contains his teaching of the Five Ranks is similarly revered.There is a magic to language. A symbol is passed down for centuries, from spoken word, to ideogram, to letters and words in our own tongue, which become images again appearing in our imagination, references to a memory that we can almost taste.Words are sensual. We taste our words as we speak them. We feel their images and are invited into their song. Sentences are like spells. They captivate the heart. They have the power to render us transformed in this midst of their utterances. When used mindlessly words can kill the thing they are attempting to name. They can create landscapes of lies, delusive dreams that collectively capture our imaginations and send us spiraling further away from ourselves.Yet, words are also alive. Language lets us re-cast the spell on itself. A single word can be a deep medicine for the exiled heart. A point of connection—a way in.The theme of the absolute and the relative is a timeless dance of wholeness. What happens when we really venture to peer into Mind, inquire into the inner workings of our hearts, this experience we call my life?— well it's empty yet appearing, spacious yet seemingly tangible, here yet unfindable. What we call one, is also many—a relationship so intimately entwined, it can feel like a great wrong has been committed to even speak as if they were two separate and distinct experiences. And yet, we long to make meaning. To communicate the inner landscapes of the heart-mind. To celebrate the journey. We are map-makers of consciousness, knowing that as we chart the choppy, ever-changing waters of the heart, it's already shifting—there is nowhere where we truly stand besides the momentariness of standing right where we are.As I study the Sandokai and Dongshan's Five Ranks, I have come to appreciate the play of light and shadow or relative and absolute as a generous reminder once spoken by Master Ma, and later by my own teacher Hogen Roshi—”we can't fall out of the deep samadhi of the universe.” We are always on the path, and the path is always revealing a new face of this mystery.So let's explore one map of the great ocean of awareness and perhaps through these words and images we will recognize some of our own footsteps.The Light within the Dark (the Relative with the Absolute)Dongshan: The third watch of the night, before moonrise—don't be surprised if there's a meeting without recognition. One still harbors the elegance of former years.My meditation is so spacious, it reminds me of that time when…Dogen Zenji says, when the truth fills our body and mind, we realize that something is missing. As someone who spent a lot of days, months and years in zazen and retreat, a taste of spaciousness can trigger a longing for my time as a total beginner to practice, who just stumbled into this dark mystery of being and had no skin in the game, no vow, just a heart turned towards spaciousness.The Dao De Jing says, In the Dark, darken further…Have you ever meditated in the dark before moonrise? Have you ever let yourself let-go for a moment the ordinary distinctions of seeing, hearing, feeling, thinking? What kind of place is this? Does anyone remain?The Dark within the Light (The Absolute in the Relative)Dongshan: Having overslept, the elder woman encounters the ancient mirror. This is clearly meeting face-to-face, only then is it genuine. Don't lose your head by validating shadows.I love this concept called non-linear emergence. A recognition that being human is non-linear. Healing in non-linear. Awakening surely is non-linear. Because we are never outside of the mysterious grace of our awakened nature, sometimes a moment of clarity rises up in the midst of a seemingly ordinary moment or even what we might consider a moment so outside of our concept of practice. Like those days when we sleep in, or are hungover, or ate too much cake, or feel distracted, busy, on autopilot, lost, alone in our suffering, or pain.Then suddenly, there is an encounter—a stranger smiles, we notice the yellow of a sunflower, a piece of music grabs our attention, we look up at the sky—and something happens. We find ourselves gazing into the ancient mirror. A true encounter. Face-to-face—we glimpse, we remember our shared nature, we feel an enduring love and acceptance, we taste the light of being.Yes right here in the midst of the ordinary, in the midst of the colossal ways we harm each other, in the midst of all the injustices in our crazy-making world—there is love, there is peace. The sacred rises up and kisses us on the cheek. And we keep on living. We go to work, we meet with a friend, we use the toilet when we need to, we continue to heal, we face the innumerable challenges of living a human life.As one Zen master said, awakening is an accident, practice makes us accident prone.Just the Dark (Coming from within the Absolute)Dongshan: Within nothingness there is a road out of the dusts. Just avoid speaking the forbidden name of the emperor and you will surpass the worthies of ancient times, who cut off tongues.Rinzai says: sometimes I take away the person and the environmentAll reference points lostJust don't try to speak of itThough many people practice ZenFew have lost their MindCutting off tongues aside, let me ask— when your mind isn't reifying anything—where do you abide?Enter the dark cave of meditation, it's OK to not-know who you are.One Zen student said when asked, what happens when you think about the one who thinks—I find that there is nothing there at all.Just the Light (Mutual Integration / From within the Relative)Dongshan: No need to dodge when blades are crossed. The skillful one is like a lotus in the fire. Surely you possess the aspiration to soar to the heavens.In the midst of our work, our relationships, our confusion, our intellectual pursuits—the dharma is here. We don't need to look for peak experiences or make wonderment happen. Every meeting is genuine. The dharma is us. Our vow, our heart's aspiration, the bodhisattva dwells in this very ordinary, cryptic, heart-wrenching human realm.Let yourself be a lotus in the fire.Aspire to see your life as a lotus blooming in the midst of all these flames.Light and Dark Together (Arriving at Concurrence)Dongshan: Everyone longs to leave the mundane stream, still you return to sit in the charcoal heap. Zen celebrates such a complete shedding. Is such a place possible? To no longer long for some peak experience, some validation from the universe that you are OK, that all is sacred. Faith can permeate one's being so completely that the world of oneness and the world of diversity are so intertwined that it no longer makes sense to make distinctions. The tradition also celebrates responsiveness. Born from practice-realization we respond to the complexities of our lives. We walk freely through the other ranks, as we live our lives of practice. Most great Zen and Buddhist teachers continued to sit retreats and had a daily practice throughout their lives.Whether the charcoal heap is your zafu or this burning world of change and pain or the complete combustion of being so fully here for those you love + the work you do—you continue to sit in it, with it, with all beings.Thank you for your practice, thank you for living the life you have as genuinely as you do. As we walk the circle of the way, never falling out of the deep samadhi of the universe, we encounter these different expressions of the great heart of being. You might describe them differently, if you bother describing them at all. Perhaps you too are a mapmaker, a spell-caster, one haunted by a call to make meaning and embody love in our sometimes chilling yet beautiful world.In the dharma talk, I offer some other reflections on this topic—as it pertains to the practice of Ango. A time in the Zen Community of Oregon's annual practice cycle that we dedicate to intensifying practice with the support of Sangha.…I'm Amy Kisei. I am a Zen Buddhist Teacher, Spiritual Counselor, budding Astrologer and Artist. In my Spiritual Counseling Practice, I practice at the confluence of spirituality and psychology, integrating mind, body and spirit. I am trained in Internal Family Systems (IFS), Dream Work, Hakomi (Somatic Therapy) and Mindful Eating. Below are some of my current offerings.Monday Night Meditation + DharmaEvery Monday 6P PT / 9P ETJoin me on zoom for 40 minutes of meditation and a dharma talk. We are currently exploring a text called The Eight Realizations of Great Beings, which gives us an opportunity to practice inquiry and embodying love as we discover our Awakened Nature together.This event is hosted by the Zen Community of Oregon. All are welcome to join. Drop in any time.Zoom Link for Monday NightBeyond Mindfulness: Deepening Your Meditation Practice Class SeriesStarts today! This workshop style course is designed to provide a map of the meditation path as well as:* Introduce you to the five main styles of meditation (calm-abiding, concentration, heart-based practices, inquiry and open-awareness)* Help you understand the intention of each method and how to practice it* Help you understand how the various methods and techniques fit together and support each other* Provide a fun, non-judgmental learning environment where you can try things out, ask questions and explore* Give you the opportunity to work with a teacher with an extensive background in various meditation techniquesSky + RoseWhat is it? An experiment in the impossible task of excluding nothing and loving everything. An alchemy of play, presence and wandering into the shadows, you could say.Sky & Rose is a practice container that will:* Center group parts work practices to explore the fluidity, span and dream of who we are - somebody, nobody, everybody. You will be invited to express yourself vocally and physically, engage your imagination and play outside habituation.* Do interpersonal and group meditation practices of seeing, being and awakening.* Directly explore emotional embodiment & shadow work* Include Beauty, Art & Wonderment as core practice elements Through rituals of imagination, meditation technologies and co-created fields of intentional play, we can slip out, for a time, of confining identities defined by our histories, culture and comfort.Delivered by these practices, we can begin to inhabit perspectives and modes of being that stretch our sense of the possible and refresh our sense of the everyday. You might find yourself wearing Luminosities face or inhabiting Laughter's chest. Together we might try out Venus's view of the very life we live or we might make space to feel Chaos's dance and shake off some rigidity.All of these are just examples of where our wondering and feeling into places of vitality and expansion may take us.We will rebel against the quotidian and respect ourselves too much to only have crumbs of the sacred!It was also be a time to work together with the challenges to living heart forward with sanity and presence within this hyper-fractured funhouse/madhouse world.Sky and Rose is a place for Jogen and i to invite you into practices and explorations of 'soul work' that are not part of the Buddhist tradition but that have nonetheless been sources of growth and joy for us. Our influences in this include Paratheatre, IFS and Voice Dialogue, Hakomi, Process Work, Butoh, Jungian dream work and more.We initiate Sky & Rose as an experiment in embracing Spirit and Soul simultaneously, together imagining and practicing interpersonal liberation, playfulness and spaciousness in this time of deep adaptation.Meets monthly on Sundays from 10:30A PT - 12:30P PT / 1:30P ET - 3:30P ETJoin us for our Opening Ritual + Practice exploringThe Ritual of LiminalitySunday October 27I currently live in Columbus, Ohio with my partner Patrick Kennyo Dunn, we facilitate an in-person meditation gathering every Wednesday from 7P - 8:30P at ILLIO in Clintonville through Mud Lotus Sangha. If you happen to be in Columbus, feel free to stop by. We have weekly meditation gatherings, and are offering a day of meditation in October. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amykisei.substack.com/subscribe

I am just returning from my first in-person Zen sesshin here in Ohio. It was wonderful to practice the familiar rhythm of a silent, Zen-style meditation retreat so close to the place I currently call home. We practiced as the winds and rain from Hurricane Helene blew through South Western Ohio felling tree branches and power lines on the property of the Jesuit Spiritual Center where we were sitting our retreat. Despite a days long power outage on the property, we continued to practice and deepen into our shared vows and sense of interconnection. Our prayers and dedication of merit began to open up and include those living in areas that are affected by the winds, floods and destruction of the hurricane as well as those suffering in other ways all over our world—may they and we find relief from suffering and realize true happiness.Sesshin has this way of amplifying our aloneness and our togetherness. With nothing to do but sit, walk, eat and sleep, we have the rare opportunity to really let-go of or soften the reification of some of the ordinary functions of the mind, such as naming, conceptualizing, narrating, story-telling, etc. One is free to just be. And what is that? Something we are invited to continuously discover. So we sit on the edge of knowing and not-knowing, the precipice of becoming, the mystery of appearance inchoate. Being nothing and everything at once. Stopping for times the need to define or find a foothold in such existential territory. For me, it has been a while since I sat a full sesshin completely as a student. I felt like I had permission to rediscover what this practice is, from the embodied source—ground up. And zazen also had permission to be nothing in particular. There wasn't something to resolve, or fix or some insight to get. In a place of such permission zazen got to be so many things. At times a warm loving embrace, other times a sharpening stone, a quiet refuge, space, a place to explore fears + tensions, to make friends with myself in all its forms and manifestations, a hub of bodhicitta, the entire universe unhinged, rain + wind, a leaf falling, love of the ancestors through our teacher + guide, an iron yoke, a lover…nothing at all.I am appreciating how the practice does practice us, and how over the decade and a half that I have been engaged in intensive practice, there are so many practices that visit me, offering momentary medicine in this process of living. I don't need to take anything with me from moment to moment, I can trust that practice truly does continue. Though I do find myself drawn to creating the conditions to recognize the dharma in all times and places.I left sesshin feeling humbled and full. Daniel Terrango, our teacher and guide kept reminding us that the dharma is generous. Ah, yes. Can you feel it too?Right here is the heart of bodhicitta, a commitment to awaken together with all beings. Right here, all beings are awakening together in the sometimes maddening, sometimes heart-wrenchingly beautiful conditions of our current world-systems.In the teaching realm, I have been exploring a Zen poem called the Sandokai or Harmony of Difference and Sameness. In this dharma talk I zoom out and look at how we encounter difference and sameness in our dharma practice as well as our daily lives. It was rich and enlivening for me to engage in this contemplation, and I would be curious for those who listen to the talk or read the transcript—how it is for you.…I'm Amy Kisei. I am a Zen Buddhist Teacher, Spiritual Counselor, budding Astrologer and Artist. In my Spiritual Counseling Practice, I practice at the confluence of spirituality and psychology, integrating mind, body and spirit. I am trained in Internal Family Systems (IFS), Dream Work, Hakomi (Somatic Therapy) and Mindful Eating. Below are some of my current offerings.Monday Night Meditation + DharmaEvery Monday 6P PT / 9P ETJoin me on zoom for 40 minutes of meditation and a dharma talk. We are currently exploring the freedom, spontaneity and love of our original nature through the teachings of the Zen koan tradition. Koans invite us into the mythos of practice awakening, gifting us with the ordinary images of our lives, they help awaken us to the wonder, intimacy and compassion of life as it is!All are welcome to join. Drop in any time.Zoom Link for Monday NightBeyond Mindfulness: Deepening Your Meditation Practice Class SeriesThis workshop style course is designed to provide a map of the meditation path as well as:* Introduce you to the five main styles of meditation (calm-abiding, concentration, heart-based practices, inquiry and open-awareness)* Help you understand the intention of each method and how to practice it* Help you understand how the various methods and techniques fit together and support each other* Provide a fun, non-judgmental learning environment where you can try things out, ask questions and explore* Give you the opportunity to work with a teacher with an extensive background in various meditation techniquesI currently live in Columbus, Ohio with my partner Patrick Kennyo Dunn, we facilitate an in-person meditation gathering every Wednesday from 7P - 8:30P at ILLIO in Clintonville through Mud Lotus Sangha. If you happen to be in Columbus, feel free to stop by. We have weekly meditation gatherings, and are offering a day of meditation in October.Sky + RoseWhat is it? An experiment in the impossible task of excluding nothing and loving everything. An alchemy of play, presence and wandering into the shadows, you could say.Sky & Rose is a practice container that will:* Center group parts work practices to explore the fluidity, span and dream of who we are - somebody, nobody, everybody. You will be invited to express yourself vocally and physically, engage your imagination and play outside habituation.* Do interpersonal and group meditation practices of seeing, being and awakening.* Directly explore emotional embodiment & shadow work* Include Beauty, Art & Wonderment as core practice elements Through rituals of imagination, meditation technologies and co-created fields of intentional play, we can slip out, for a time, of confining identities defined by our histories, culture and comfort.Delivered by these practices, we can begin to inhabit perspectives and modes of being that stretch our sense of the possible and refresh our sense of the everyday. You might find yourself wearing Luminosities face or inhabiting Laughter's chest. Together we might try out Venus's view of the very life we live or we might make space to feel Chaos's dance and shake off some rigidity.All of these are just examples of where our wondering and feeling into places of vitality and expansion may take us.We will rebel against the quotidian and respect ourselves too much to only have crumbs of the sacred!It was also be a time to work together with the challenges to living heart forward with sanity and presence within this hyper-fractured funhouse/madhouse world.Sky and Rose is a place for Jogen and i to invite you into practices and explorations of 'soul work' that are not part of the Buddhist tradition but that have nonetheless been sources of growth and joy for us. Our influences in this include Paratheatre, IFS and Voice Dialogue, Hakomi, Process Work, Butoh, Jungian dream work and more.We initiate Sky & Rose as an experiment in embracing Spirit and Soul simultaneously, together imagining and practicing interpersonal liberation, playfulness and spaciousness in this time of deep adaptation.Meets monthly on Sundays from 10:30A PT - 12:30P PT / 1:30P ET - 3:30P ETJoin us for our Opening Ritual + Practice exploringThe Ritual of LiminalitySunday October 27 This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amykisei.substack.com/subscribe

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In this episode, you can listen to the Q&A after Vangeline's performance of the Slowest Wave in Singapore, organized by the butoh artist XUE and the Singapore Butoh Collective. During the Q&A, Xue, the audience, and Vangeline talk about topics such as the difficulty in describing Butoh, Butoh and neuroscience, The Slowest Wave, and the present and future of Butoh in Singapore. This episode was recorded on September 1st, 2024. Check them out: https://sgbutoh.co/ A couple of corrections: The first Butoh performance was Kinjiki, or Forbidden Ciolors, not Forbidden Flowers. Also, The two women neuroscientists who collaborated on the Slowest Wave, neuroscientists Sadye Paez and Constantina Theofanopoulou, dance flamenco, not tango. If you want to learn more about the Slowest Wave, read here: https://www.vangeline.com/research

This episode focuses on the making of the duet Man Woman by butoh dancers Akihito Ichihara and Vangeline during their choreography residency at the Monira Foundation in New Jersey in July 2024. In the first part of this episode, Akihito Ichihara and Vangeline have a conversation about MAN WOMAN. The second half takes you behind the scenes of their creative process as they discuss the piece, section by section, for the sound artist composing the soundscape. About my guest and collaborator: Akihito Ichihara is a renowned Butoh dancer (Sankai Juku, ELF). To learn more about MAN WOMAN visit https://www.vangeline.com/news/2024/7/10/vhzk6zy97x0uhmu7kkzwrx5vryork8

In this episode recorded on July 8, 2024, Vangeline and Danish actress Marie Bach Hansen and Christine Albeck Børge discuss the many possibilities of Butoh after meeting in Florence Italy during a Butoh workshop led by Vangeline and organized by Wade Dance. They also discuss how beneficial gentle butoh techniques can be to actors and performers. For more information about Christine Albeck Børge, go to https://www.allthatmanagement.dk/klient.php?kid=129&tid=2&lang=da&p=showreel For more information about Marie Bach Hansen, go to: https://www.instagram.com/missmariebach/ www.vangeline.com

This may be one of the most interesting discussions about death you may come across.

While most of us aspiring contemporary dancers will decide to undergo formal training under the foundations of Graham, Cunningham, Limon and various others, a small subset has diverted into the wondrous world of puppet theatre. One such performer, choreographer and now puppeteer is Duda Paiva. After a few more years thriving as an independent theatrical artist, he initiated the Duda Paiva Company in Amsterdam, Holland, in 2004.Duda was educated as an actor, ballet and Butoh dancer in both Brazil and Japan. He moved to the Netherlands in 1996, where he worked as a professional contemporary dancer and choreographer. Curious and adept at researching multidisciplinary art forms, Paiva pushes the boundaries of visual theater and creates an exciting and unique idiom, blowing life into foam sculptures.Kickstarting a brand new season and month of Dance Choreography, this episode explores the choreographic mystery behind creating for both humans as well as puppets, how to find constant harmony and what the future ultimately holds for this art form. Ready to discover the puppeteer within you? Join us as we foreground dance in the background!Duda Paiva CompanyPuppeteers of the worldHistory of puppet theatreTraditional puppet theatres around the worldSoundtracks:Birds - Tyler Twombly Poison Ivy Yard Work - Uncle Milk22 circus - HasenchatOnce in Paris - Pump up the mind Support the Show.Like our offers? Try Nord VPN Visit Duda Paiva Company Like what we do? Help us grow by Visiting The Background Dancer YouTube Channel Rate and review here Email me at backgrounddancer.jy@gmail.com Answer a survey Sign up here to receive future updates Leave a thought on Facebook and Instagram Join the Facebook group and introduce yourself as a member of our community

In this podcast interview, Mn. Hokyu Aronson speaks with guest instructor Vangeline about embodied movement...

This second episode focuses on Butoh, Sensitivity, Sensuality, and the Nervous System, and is an audio recording of my video lecture on the subject. This episode also explores Butoh and eroticism, the history of women in Butoh, and Feminism.

Listen to three short preambles by Vangeline recorded on each day of her last 3-day zoom workshop focusing on the art of listening in Butoh. These reflections are meant to support Butoh practitioners with their Butoh practice and give context on Butoh as an art form.

Just nu är butoh-dansaren Frauke ute på turné med Riksteatern med föreställningen Pearl, där en kvinna som tappat sin balans reser genom sinne efter sinne. Lyssna på alla avsnitt i Sveriges Radio Play. ”Pearl” handlar om dold skönhet, säger Caroline Lundblad, dansare och koreograf som varit många år i Kyoto i Japan. Butoh är en japansk performancekonstart som uppstod i slutet av 50-talet, ofta vitsminkade dansare som rör sig extremt kontrollerat och långsamt. ”När jag går upp på scenen blir jag Frauke”, säger hon, och de olika kostymerna som illustrerar olika sinnen förstärker dansen, ger mig olika siluetter och motstånd.Katarina Wikars har följt Frauke sedan hon såg henne dansa på komposthögarna vid kolonilotterna vid Årstaviken en höstkväll för många år sedan, vitsminkad med blicken vänd inåt blåste hon gurkmeja ut som kryddmoln bland löven.Butoh är kroppens poesi, säger Caroline Lundblad, som nu går i lära hos en noh-mästare i Kyoto, en teaterform som gestalter andeväsen. Man låter något annat ta plats i kroppen, säger hon.Musiken i föreställningen ”Pearl” är gjord av Daniel Troberg.

La death education promuove percorsi di riflessione sulla morte sul morire per elaborare il lutto e la morte in modo consapevole. È un campo di studio interdisciplinare che si concentra sull'educazione e sulla sensibilizzazione riguardo alla morte, al morire e al lutto, con lo scopo di fornire agli individui una comprensione più approfondita di questi temi, aiutandoli ad affrontarli in modo più consapevole. Ciò che propongo con i miei workshop è sperimentare laboratori di death education attraverso la danza butō e il mio metodo FÜYA. Trovo suggestivo riportare la poetica e la pratica della danza butō al momento della nostra morte. Come sarebbe trascorrere il nostro “ultimo momento” con una danza? Come sarebbe fare del nostro “ultimo respiro” il volo dell'ultima foglia d'autunno? Come sarebbe disegnare con il nostro corpo quell'ultima forma insegnata dalla danza butō, facendo come se fossimo un fiore che sboccia? Come sarebbe aprire il nostro “ultimo sguardo” su questo mondo come se stessimo spalancando una finestra sull'eternità? Queste sono alcune riflessioni che propongo ai miei allievi. 

Se Tatsumi Hijikata instilla nella danza butō la stessa oscurità ascetica che abbiamo descritto citando la Tachikawaryū, Kazuo Ohno propone una pratica ascetica incentrata sul potere rigenerativo della morte. Solitamente, infatti, la morte viene intesa come una cesura nella continuità della nostra esistenza mortale, ma per la danza butō la morte può essere considerata come un momento di passaggio e di trasformazione che ci conduce a una nuova vita, per mezzo di una forma diversa. Il mio maestro Atsushi Takenouchi, allievo di Tatsumi Hijikata e Yoshito Ohno, invita i danzatori a osservare i cicli delle stagioni. L'albero, quando muore, permette la nascita di altri organismi della foresta. I suoi elementi tornano in circolo e contribuiscono all'alimentazione di altre vite. Ogni morte, quindi, contribuisce alla vita, che prosegue in un costante ciclo di morti e di rinascite che si alimentano a vicenda. In questo senso, ogni vita è in debito con le morti che la precedono, perché ne è il frutto. La danza, per questi danzatori, è una preghiera di gratitudine che si rivolge verso l'eterno ciclo dell'esistenza.

Butoh Dancer | ChoreographerYou can also watch this episode on Youtube where English, Italian and Spanish subtitles are available or visit the Metralla Rosa website for more details.__________In Episode 51 of Metralla Rosa, Carla is in London, talking to Mai Nguyen Tri, a Franco-Vietnmese experimental Butoh dancer.As a self labelled Zen Punk artist, Mai exploits her natural affiliation to water in order to give her gestural expressions a fluidity of movement that flow directly from her unconscious mind – a source deep enough to have provided her with twenty years worth of inspiration for her improvised performances. Butoh originated from 1950s post-war Japanese culture and, although Mai draws on the anti-stylised fluidity and slow, controlled movement of this relatively contemporary school of dance, she also honours the very specific social context of its birth by injecting her own experimental fantasy into her performances.Mai left Brittany over thirty years ago, drawn to London by her fascination for English poetry, literature and culture, with Hackney Wick immediately becoming the base for her creative nest. It was in this eclectic and unorthodox side of urban London, her adopted city, that her soul finally found its home, where, from the moment she decided to put down roots, the contrasting sides of her expressive identity and artistic personality began to flourish.The source of Mai's inspiration fluctuates between the rebelliousness of London's punk ethos and the minimalism of her zen heritage, and, with her background in literature and a keen interest in mental health, she has created her own, unique language that precedes her and defines her. She is curious and visionary and, as such, has collaborated with artists from various disciplines, including the reggae musician Clapper Priest, the multidisciplinary Xuân Sinden, the Afro-Irish poet Grassy Noel Macken and the ambient-noise bands Ampersand and Fear of Fluffing. However, and above all else, one of her greatest achievements, has been managing to remain uncompromisingly truthful and uncomfortably relevant in a city filled with commercial art, trendy newcomers and an insanely competitive cultural scene.And now, enjoy the interview!__________Related Links: Mai Nguyen Tri: Instagram | Facebook | YouTubeFor further information about this interview, including links to anything mentioned by Mai, or to continue reading this text in Spanish, English and Italian, visit the Metralla Rosa websiteSupport the show

¡Bienvenidos a nuestro canal de YouTube! Hoy estamos emocionados de presentarles una nueva entrevista, en esta oportunidad con una destacada figura de la danza, Julie Barnsley, quien es intérprete, coreógrafa, maestra e investigadora del cuerpo y del movimiento. Esta maestra de larga trayectoria, se formó en The Place, London Contemporary Dance School. Es PhD en Artes y Culturas del Sur por la Universidad Nacional Experimental de las Artes, en Caracas. Directora Artística y fundadora del Centro de Investigación y Laboratorio de Danza | Teatro Físico | Video Acción Colectiva (actualmente Aktion Kolectiva), así como también, es miembro fundadora de Danzahoy y del Centro Latinoamericano de Danza (CLADA). Barnsley ha trabajado en Alemania para los neoexpresionistas Reinhild Hoffman y Gerhard Bohner, en Inglaterra con Lloyd Newson y la Compañía D.V.8, y en Nueva York con la compañía de Poppo Shiraishi and the GoGo boys (Butoh). Además, es profesora de coreografía y análisis de las estrategias de la danza moderna y posmoderna, y autora del libro El cuerpo como territorio de la rebeldía, con dos ediciones en español y una en inglés (2022). ¡Suscríbanse a nuestro canal para no perderse este increíble contenido!

Per raggiungere l'illuminazione, insegnano gli sciamani, bisogna innanzitutto seppellirsi nella caverna. Infatti, si dice che, per aprire il nostro sguardo, dobbiamo chiudere gli occhi nell'oscurità della terra. Lo sciamano, come il danzatore butoh, vive a cavallo tra il mondo dei vivi e il mondo dei morti. Come gli alchimisti, gli sciamani sfidano i confini tra le cose mortali e le cose immortali. Custodendo le leggi che regolano i moti dei cieli, s'immergono in ciò che i più reputano “la fine” o, meglio, “il confine”, per tornare indietro e restituire messaggi ermetici. Per loro, l'inizio è la fine: “naturalissimum et perfectissimum opus est generare tale quale ipsum est”. Con questa meditazione alchemica, accompagnata dalle immagini dei tre uccelli alchemici (il corvo, il cigno e la fenice), comincia la seconda stagione di "Lettere a mia mamma".

Che senso ha la morte? Damiano Fina presenta Lettere a mia mamma, un libro e un podcast in cui racconta il suo percorso di elaborazione del lutto attraverso la danza e la filosofia."Quando guardiamo in faccia la morte impariamo un po' di più a vivere. Questo mi ha insegnato il lutto, ma non solo. Il dolore per la scomparsa di una persona cara è profondo, non si può nascondere e non si può annientare. Ma il dolore si può ascoltare, e allora diventa l'altro volto dell'amore, di ciò che è stato e che, non essendo più presente come lo era prima, ci manca inevitabilmente. Oggi penso che il dolore che affrontiamo quando siamo di fronte alla morte sia un'iniziazione. La morte è un'esperienza che ripristina un legame essenziale con i nostri antenati. Di fronte all'orrore per ciò che scompare ci troviamo a dover rispondere alle domande che da sempre si pone l'umanità. Da dove veniamo? Chi siamo? Dove andiamo? Grazie alla filosofia ho imparato che riflettere sul senso della morte ci permette di maturare nuove visioni per la nostra vita. Su questi spunti ho scritto il mio libro e questo podcast. Mi auguro che ti possa essere d'ispirazione e ti invito a visita il mio sito web. Buon ascolto!"

Explore the captivating world of Shana Robbins—her artistic transformation and how she weaves her art as a cultural creative, an eco-feminist, and a shape-shifter. In this conversation, you'll gain a deep understanding of how Shana utilizes the transformative abilities of plant medicine rituals to unveil the profound connection between personal growth and our interdependent relationship with nature. In this enchanting interview, Shana shares her challenging life as a child and her remarkable journey of how she came to discover and embody her nature-oriented art after a career in modeling. Her work has been fueled by her global travels, inspirational ideas, and performances in some of the most magnificent and magical locations. Beyond her artistic endeavors, Shana imparts her wisdom as an Art professor at Georgia State University and delves into the mystical practice of Butoh, a unique combination of walking meditation and dance deeply rooted in the natural world. Join us as we uncover the intricate layers of Shana's artistic universe and gain profound insights into what she refers to as our "radical interdependence with the wild.”

American choreographer and dancer Trajal Harrell chats to Dheepthika Laurent about his career retrospective at Paris' Festival d'Automne. They also talk about voguing, the focus of his seminal eight year project, Twenty Looks or Paris is Burning at the Judson Church, and his current field of interest: Japanese dance style Butoh.

In this captivating interview, I had the pleasure of sitting with the incredibly talented Mariko Endo, a renowned dancer and choreographer. Mariko takes us back to the early days of her career, sharing how she embarked on her path as a dancer despite starting later than most. She reveals her teenage years spent acting in local theaters in Japan and her fascination with human psychology, which eventually led her to a life-changing encounter with Butoh. Butoh, a dance form founded by three Masters in Japan, captured Mariko's heart and became her artistic calling. She explains the avant-garde nature of Butoh and its deep connection to the aftermath of World War II. Mariko's teacher, Akira Kasai, played a pivotal role in her journey, introducing her to the expressive and transformative power of Butoh. As we dive deeper into Butoh, Mariko vividly depicts the dance form's essence. She eloquently describes how Butoh is not about performing one's personal drama or grief but instead becoming an empty vessel, allowing emotions to move through the body. Mariko shares her profound understanding of the interplay between consciousness and movement, emphasizing the importance of stillness and the ability to connect with the space around us. In addition to her mastery of Butoh, Mariko has collaborated with international composers and visual artists to create mesmerizing multimedia performances. She shares her approach to collaboration, highlighting the fusion of theater, modern dance, and music in her choreography. Mariko's dedication to distilling the essence of a piece and eliminating excess elements shines through in her work, creating a powerful connection with audiences. Throughout the interview, Mariko's passion for dance and her desire to create sacred spaces through her performances are palpable. She believes in the transformative power of dance, inviting audiences to imagine, remember, and find renewal within themselves. Mariko's ultimate goal is to share joy and evoke a sense of wonder through her art. Join us on this enlightening journey as we explore the world of dance through the eyes of Mariko Endo. Prepare to be inspired and captivated by her profound insights and artistic vision. New Production: Passionate Geometries conceived by Richard Cameron-Wolf. At Symphony Space / Thalia on Saturday, April 20th. Music composer: Richard Cameron-Wolf Find Mariko Online: Website: https://www.marikoendo.com Find Us Online: Websites: https://www.universaldancer.com/ https://lesliezehr.com Facebook: https://www.facebook.com/groups/universaldancercommunity Instagram: @the.universaldancer YouTube: https://www.youtube.com/c/TheUniversaldancer Books: "The Alchemy of Dance: Sacred Dance as a Path to the Universal Dancer" by Leslie Zehr: https://books2read.com/u/bPNVvY  "The Al-chemia Remedies: Vibrational Essences from Egyptian Flowers and Sacred Sites" by Leslie Zehr: https://books2read.com/u/38V2zr

MELBOURNE FRINGE FESTIVAL 2023 Holly and Sasja came together to discuss Holly's event at the Melbourne Fringe Festival: MY QUEER SPIRITUAL ENTROP HOLLY ROWAN - MY QUEER SPIRITUAL ENTROPY TICKETDates 05 - 13 OctTime 7:30pm, 6:30pm (60 minutes)Venue TIC: SwanstonA spiritual antidote to dogma; for people who just want to be themselves.Sick of people telling you there's one way to live your life? Yeah, Holly too. Come and heal your soul and reclaim your right to be whoever you want to be with My Queer Spiritual Entropy. Full of originality, chaos and colour, this fresh-out-the-womb solo show from British non-binary performer Holly Rowan is a vibrant and daring mash-up of clown, Butoh, spoken word, physical theatre, dance and song... available as an in-person performance.About the artist: Instagram- @hollyrowanarts Holly is an emerging non-binary, multidisciplinary artist and performer whose work sits on the bridge of comedy and personal tragedy. Through a quirky combination of movement and voice, they share vulnerable and personal stories as a means to create conversation about difficult topics and connect people with the core of their humanity. This is their first Melbourne Fringe and debut performance in Australia. They have previously co-directed and performed in London Butoh Dance Company's ‘IRREVERSE' for Wandsworth Arts Fringe in 2022 and was Stage manager and Choreographer for Lancaster Offshoots productions at Edinburgh Fringe ‘Peter Rabbit & Other Tales' 2015 & ‘Hunchback' 2016. Holly is also a facilitator for Queer Space Youth at Drummond Street Services.  ------------------------------- Sasja joined by Sophie Strykowski & Haz Lugsdin, another artists from the Melbourne Fringe Festival, who shared a discussion of their live performance titled "TWIN FLAME/ DEAD SPIT".  TWIN FLAME/ DEAD SPIT TICKETDates 05 - 13 OctTime 7:00pm (60 minutes)Venue Mycelium StudiosTWIN FLAME/ DEAD SPIT is a live performance work investigating the ways in which we look at another to look at ourselves. With ten years of deep friendship and chosen kinship, performance makers Haz Lugsdin and Sophie Strykowski embark on an intergalactic voyage to understand their interlocking selves.We all have a gravitational pull. The sun, a chair, and you. I felt that tug. Who put me here? And why are you here too?Haz Lugsdin (They/He) is a trans performer who relishes in gusto, ego and innuendo. Sophie Strykowski (She/They) is an actor and performance maker whose work sparkles fearlessly with a joyous curiosity. Together, they pastiche comedy, performance art, and unbridled joy to glimpse the life practice of world-building together.  About the Artists: Haz Lugsdin / Sophie Strykowski    Instagram - @sp0repunk_ Haz Lugsdin (they/he) is a trans performer making on the unceded lands of the Wurundjeri Woi-wurrung people. Haz's experience is in devised and collaborative work, rooted in comedy, pastiched with drag, performance art, movement, wordplay and absolute buggery. Haz is invested in developing non-binary ways of making that refuse rigid performance structures; as explored in their three latest 45 minute works; Rising Damp: A Sporepunk unearthing of a queer utopia at La Mama HQ (2022), The (Sour Glitch) Two-Step Refusal at The Flying Nun by Brand X (2021) and 101101001: Dude Where's My Gender at The Giant Dwarf (2020). As a writer, Haz has received mentorship with ATYP as part of National Studio (2020) and Fresh Ink (2021). Haz's work relishes in the illegible and incoherent; centering play and pleasure. He uses performance to make sense of himself and non-sense of the rest. They have a distinct modus operandi of gusto, ego, and innuendo.  Sophie Strykowski (she/they) is a performance maker and actor from Gadigal, currently living on the unceded lands of the Wurundjeri Woi-Wurrung people. Their devised work reflects their positionality as a queer person, with the intention to dismantle and reimagine perceived truths with earnestness and delight. Sophie has worked across a range of independent and professional stages in Gadigal, including Griffin Theatre and ATYP in Intersection: Arrival (2019), Q Theatre in Originate (2020), Kings Cross Theatre [KXT] in Natives (2022) and Rogue Projects in Taz v. The Pleb (2023). Her work plays with form, combining elements of movement, comedy and experimental theater to ask big questions about the self, love, sexuality and connection. Sophie brings these questions to an audience with sparkling fearlessness and joyful curiosity. ------------------------------- Charaf Tartoussi joined Queering The Air as our third and final guest artist for the Melbourne Fringe Festival. A discussion between Sasja and Charaf about their captivating live performance titled “Aza” Aza: Stories of Grief in Diaspora  TICKET Dates 18 - 22 OctTime 6:00pm, 5:00pm (50 minutes)Venue Festival Hub: Trades Hall - Old Council ChambersA vulnerable exploration of migrant and diasporic grief through storytelling.Aza (Arabic colloq: wake) is a powerful, nuanced portrait of migrant loss. Spoken word theater meets mourning ritual, it takes us on the grieving journeys of four artists as they grapple with what it means to lose a loved one back home.Meet Charaf, Parminder, Thabani and Farah. They all live in Naarm, all write poetry and all have had to grieve a family member from a homeland someplace else. Together, they embark on an honest voyage through a grief as ancestral as it is foreign. From longing and guilt, to curiosity and pride, they will venture into the breadth of emotion in their migrant and diasporic mourning.Aza is where they come together to be witnessed in the diversity in their grief. It is where they come together to heal, and to be healed.In 50 minutes of vulnerable and sincere storytelling, they will move through the motions of their loss and attempt to answer the question: how does grief change when it is experienced in the immigrant diaspora, and how does it stay the same?  Music:Rehab by RihannaMusic by MadonnaYAMA LAYALI by David Vendetta feat Haifa Wehbe National Coming Out Day Event by Queerspace - Drummond Street Services(All LGBTQIA+ People Are Welcome)100 Drummond Street, Carlton, Victoria 3053Wednesday 11 October4pm - 7pm

Learn more at TheCityLife.org --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Learn more at TheCityLife.org --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

How might we connect more deeply with the Divine via dance? What can water teach us about the flow of life? And what happens when we combine the two? On the latest episode I explore this rich topic with Venezuelan contemporary dance performer, choreographer, and teacher Juliana Mendonca. Juliana is an innovative bodyworker influenced by Latin Traditional Dances, Butoh, Contact Improvisation and Physical Theater. In particular, water has represented a very important element for her to understand herself, and Juliana has dedicated many years to creating projects and performances inspired by the element of water. These include the music and dance company Raíz de Agua, La Naciente, Drop & Drought, Sono Somatic and most recently, Liquidanza – a relaxation and dance practice based in the water. In this episode we discuss:Juliana's early, formative experiences with nature, and why they made a deeper impression on her than her experiences within the Catholic churchJuliana's journey through formal dance training and into more experimental, flowing forms of dance, such as the Japanese Butoh dance methodHer relationship with water, including what it's taught her, and how she understands it as holding feminine energy that can benefit us allHow we can all deepen our awareness and understanding of the sacred nature of waterShow Notes If you'd like to know whose ancestral tribal lands you currently reside on, you can look up your address here: https://native-land.ca/You can also visit the Coalition of Natives and Allies for more helpful educational resources about Indigenous rights and history.I'm so excited to announce the launch of the Home to Her Academy, a school dedicated to seekers of Sacred Feminine wisdom! To learn more and register for my upcoming class, "Home to Herstory, Home to Your Story," please visit www.hometoheracademy.com. And while you're there, don't forget to sign up for my newsletter to stay up to date with upcoming classes.My book, “Home to Her: Walking the Transformative Path of the Sacred Feminine,” is available from Womancraft Publishing! To learn more, read endorsements and purchase, please visit  https://womancraftpublishing.com/product/home-to-her/. It is also available for sale via Amazon, Bookshop.org, and you can order it from your favorite local bookstore, too.Please – if you love this podcast and/or have read my book, please consider leaving me a review! For the podcast, reviews on iTunes are extremely helpful, and for the book, reviews on Amazon and Goodreads are equally helpful. Thank you for supporting my work!You can watch this and other podcast episodes at the Home to Her YouTube Channel: https://www.youtube.com/@hometoherGot feedback about this episode or others you've heard? Please reach out on Instagram (https://www.instagram.com/hometoher/ ), Facebook  (https://www.facebook.com/hometoher)You can learn more about Juliana and her work at her website, www.liquidanza.com.The Venezuelan Goddess Juliana mentioned is named Yara. I couldn't find many good sources about her written in English, unfortunately. Juliana referenced Butoh Dance and the Naguchi Taiso method as part of her own dance journey. This article provides more information: https://zenembodiment.com/2019/06/08/body-as-bones-in-a-leather-bag-of-water-exploring-noguchi-taiso/Juliana also mentioned Watsu therapy. You can learn more here: https://www.healthline.com/health/watsu

This is part 2 of the podcast with Eric Larsen who came to the SFZC in 1970. Aside from his Zen studies, he apprenticed with master sculptor, blacksmith, etc Alex Weygers, and learned chain saw sculpting etc from JB Blunk, and studied with Yurok shaman Harry Roberts. In recent years he's been immersed in Butoh dance in Japan and the US. See ericlarsendance.com. More at Eric's cuke.com page.

Eric Larsen came to the SFZC in 1970. Aside from his Zen studies, he apprenticed with master sculptor, blacksmith, etc Alex Weygers, and learned chain saw sculpting etc from JB Blunk, and studied with Yurok shaman Harry Roberts. In recent years he's been immersed in Butoh dance in Japan and the US. See ericlarsendance.com. More at Eric's cuke.com page. This is part one. Next week part two.

Il rimedio contro l'angoscia della morte è cercato dall'umanità sin dalle più antiche danze attorno al fuoco. Più volte mi è capitato di danzare di fronte alla morte nel corso delle mie esperienze di danza butō. L'esperienza del lutto ha decisamente cambiato il mio rapporto con la morte e con il morire, rendendolo più vicino e vivido alla mia pelle. In particolare, la ricerca di un rimedio contro il dolore e l'angoscia della morte e del morire non era mai stata per me una necessità. La danza può attivare esperienze di meditatio mortis di primo livello, promuovendo la significazione della morte e del morire attraverso percorsi adatti ad ogni età, dalla prima infanzia alla senilità. La consapevolezza sulla morte e sul morire ci permette di affrontare con saggezza l'angoscia che ci assale di fronte alla nostra morte e al dolore che ci pervade durante un lutto. La danza, come meditatio mortis, ha anche la capacità di ripristinare un legame con il misterioso, il numinoso, il trascendente. Ma quale danza?

Angélica Hellish e Marcos Noriega comentam seus 20 episódios favoritos de toda a série Além da Imaginação, anunciam o novo projeto para ano que vem e o resultado do sorteio da ilustração que enviaremos emoldurada (caso o ganhador esteja em território nacional ou vamos mandar só a ilustra) * O ganhador se chama MÁRCIO e já enviamos o e-mail. Responda com o seu endereço e seus dados ok? ACESSE AQUI A LISTAGEM DE TODOS OS EPISÓDIOS E NOS CONTE QUAIS VOCÊS GOSTARAM MAIS (PODE SER MAIS DE 20) Para responder o Quiz acesse esse link: https://masmorracine.com.br/qsm_quiz/the-twilight-zone-melhores-episodios/ Scan da Arte do Marcos Noriega que iremos emoldurar Angélica comentou no final da live sobre um filme que lhe trouxe amor pelas cerejeiras e a dança Butoh, é o Hanami: Cerejeiras em Flor,  da diretora Doris Dorrie, de 2009. Tem completo, legendado no Youtube: https://www.youtube.com/watch?v=DlGEkKItOqg&ab_channel=Cerejando BLOG CRIADO PARA ALÉM DA IMAGINAÇÃO https://alemdaimaginacaopodcast.wordpress.com IMPORTANTE! NOSSA CAMPANHA E TODOS OS LINKS ESTÃO AQUI: https://linktr.ee/masmorracine ASSISTIR TODOS OS EPISÓDIOS NO TELEGRAM: https://t.me/alemdaimaginacaoonline/122 O sorteio será depois do último podcast sobre a série Além da Imaginação e o prêmio é um linda ilustração emoldurada dessa série clássica. Acompanhe o episódio por aqui ou pelo nosso canal na Twitch, todos os links estão aqui. #podcast #thetwilightzone  #twilightzone SIGA A GENTE NO NOSSO CANAL NA TWITCH @AngelMasmorra https://www.twitch.tv/angelmasmorra ACESSE! Recomendações ótimas do nosso canal no OKRu! https://www.youtube.com/watch?v=HQ94eHFYgoM&ab_channel=MasmorraCine

In this episode, Pauline Sherlock is in conversation with Waffle Irongirl.Pauline Sherlock is a performer of Stand-up comedy, musical comedy, Butoh, Singing, Acting. In this interview, Pauline shares her expansive world of performance, bringing multiple of her characters to the radio. 

eddy kwon: Functional MagicViolinist/violist, vocalist, composer, improviser, and interdisciplinary Brooklyn-based performing artist eddy kwon in excerpts from three appearances at Roulette: the solo work UMMA-YA; JUNI ONE SET: Boy mother/faceless bloom (with Senga Nengudi, Crow Nishimura, Joshua Kohl); and tombstar (with Isabel Crespo Pardo, Zekkereya El-magharbel, Lesley Mok). The artist provides commentary on the influence and embrace of ritual, ceremony, Butoh, queer and trans Korean shamans, and cultural traditions and challenges. eddy kwon returns to Roulette with a new project on 19 May 2023.https://roulette.org/

Violinist/violist, vocalist, composer, improviser, and interdisciplinary Brooklyn-based performing artist eddy kwon in excerpts from three appearances at Roulette: the solo UMMA-YA; JUNI ONE SET: Boy mother/faceless bloom (with Senga Nengudi, Crow Nishimura, Joshua Kohl); and tombstar (with Isabel Crespo Pardo, Zekkereya El-magharbel, Lesley Mok). The artist provides commentary on the influence and embrace of ritual, ceremony, Butoh, queer and trans Korean shamans, and cultural traditions and challenges. eddy kwon returns to Roulette with a new project on 19 May 2023.

The thespians are joined by Chelsea Cristoffor and Will Sanders to discuss their new film, clowning, creation, Butoh, the self, and the upcoming EROS AWAKENS. Buy tickets to EROS AWAKENS here Follow Chelsea on Instagram and Twitter Follow Will on Instagram