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“Sometimes I find dance can be limiting in how I want to get a message across. That’s why I use dance combined with other art forms, like video installations, costumes and props, which give me the chance to be more direct” (Xaba, as cited in Piccirillo, p. 71).

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In a more local vision, the act of re-dancing stereotypes is understood as the act of elaborating a new image for the South African female and black identities. (Piccirillo, 2011, p. 68).

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A silent video montage that I edited to give some more insight in the video archive style.

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A silent video montage that I edited to give some more insight in the video archive style.

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The content comes from snippets from the full video: “‘Uncles & Angels’ by Mocke J Van Vueren and Nelisiwe Xaba” uploaded by between10and5 on YouTube.

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Click on the PLUS sign to add a resource - either an image or a quote or a link to a video

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Click on the PLUS sign to add a resource - either an image or a quote or a link to a video

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please don't upload a powerpoint - this is in place of a powerpoint...

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please don't upload a powerpoint - this is in place of a powerpoint...

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"You can also put key quotations here that you maybe want to refer to in your presentation but please remember to reference as you would in a written submission" (Parker, 2022, p.1)

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Lastly - please remember to provide a list of all your sources in the last block so your peers can explore further if they want to...

Lepecki, A. (2010). The Body as Archive: Will to re-enact and the afterlives of dances. Dance Research Journal. 42(2): 28-47

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Snippet of Uncles & Angels (2011) broadcasted on eNCA.

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Snippet of Uncles & Angels (2011) broadcasted on eNCA.

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A snippet of how Nelisiwe Xaba interacts with the archive in Uncles & Angels (2011).

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A snippet of how Nelisiwe Xaba interacts with the archive in Uncles & Angels (2011).

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(Zelé Angelides, as cited in van Veuren, 2014, p. 38) 

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A picture capturing the Reed dance in Uncles & Angels (2011). 

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A picture capturing the Reed dance in Uncles & Angels (2011). 

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(Zelé Angelides, as cited in van Veuren, 2014, p. 39) 

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A picture capturing the reed stick, high heel and video multiplication in Uncles & Angels (2011). 

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A picture capturing the reed stick, high heel and video multiplication in Uncles & Angels (2011). 

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Quote on the archive being a critical point. 

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Quote on the archive being a critical point. 

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“That is to say, because it is a system of transformation, the archive is in itself a critical point, a singularity …” (Lapecki, p. 37)

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Quote on the archive and  choreography being closely tied. 

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Quote on the archive and  choreography being closely tied. 

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“For if choreography knows something, it is that an archive does not store: it acts” (Lapecki, p. 38).

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between10and5 (2013, September 6). 'Uncles & Angels' by Mocke J Van Vueren and Nelisiwe Xaba [video]. Youtube. https://www.youtube.com/watch?v=dTNleTCi5Yg&t=28s

eNCA (2018, August 22). #TonightWithJaneDutton : Uncles and Angels back UJ at Art Centre. Part 4 [video]. Youtube. https://www.youtube.com/watch?v=iW14bA932mE

Lepecki, A. (2010). The body as archive: Will to re-enact and the afterlives of dances. Dance Research Journal, 42(2), 28-48. https://www.cambridge.org/core/services/aop-cambridge-core/content/view/7E6BC285346C2DD023627D8480DD7B09/S0149767700001029a.pdf/div-class-title-the-body-as-archive-will-to-re-enact-and-the-afterlives-of-dances-div.pdf

Manning, S. (2020). Nelisiwe Xaba: Dancing between South Africa and the global North. TDR/The Drama Review, 64(2), 8-15. https://www.muse.jhu.edu/article/755365 .

Piccirillo, A. (2011). Speaking with Nelisiwe Xaba. Anglistica AION: An Intersciplinary Journal, 15(1), 67-77. http://www.serena.unina.it/index.php/anglistica-aion/article/download/8372/9091

SABC News (2018, August 19). Uncles & Angels staged at the UJ Art Centre [video]. Youtube. https://www.youtube.com/watch?v=P-ec4hoPdlY

Siwani, B. (2016). Imfihlo (Master's thesis). University of Cape Town, Cape Town.  https://open.uct.ac.za/bitstream/handle/11427/20623/thesis_hum_2016_siwani_buhlebezwe.pdf?sequence=1&isAllowed=y

Sondiyaz, N (2014, March 19). UNCLES & ANGELS [video]. Youtube. https://www.youtube.com/watch?v=T5HdVNZE5oo

van Veuren, M. J. (2014). The Rhythms of Minutes and Uncles & Angels - Two projects. Research As Practice: Faculty of Art, Design and Architecture, University of Johannesburg, 1, 34-39. https://www.researchgate.net/publication/279536423_The_Rhythms_of_Minutes_and_Uncles_Angels_-_Two_projects

Xaba, N (2017, April 19). Uncles and Angels (EXCERPT) [video]. Youtube. https://www.youtube.com/watch?v=YsDs6i4ib00

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✂️ Vincent Mantsoe

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31 seconds · Clipped by Zanele Tlali · Original video "Extrait Skwatta" by Vincent Mantsoe

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quote by Debra Levine in "How Do You Archive the Sky?"

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quote by Debra Levine in "How Do You Archive the Sky?"

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“Archive … the term has become so productively elastic.”

– Debra Levine (2015)

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A Child of All Time_ Butoh Dancer Ohno Kazuo at 98 _ Kyoto Journal

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quote by Morten Søndergaard in "How do you Archive the Sky?"

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quote by Morten Søndergaard in "How do you Archive the Sky?"

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“The archive has become the battleground of a cultural war between those who see culture as based on identity and those who see it based on difference.”

– Morten Søndergaard

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Quote by Julie Tolentino in "How Do you Archive the Sky?"

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Quote by Julie Tolentino in "How Do you Archive the Sky?"

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“This always-departing body presents too its own history and timeframe, its delimiters and politics, but also a somatic reflection of this information, to allow work to remain present, in a moving changing shifting vehicle.”

– Julie Tolentino

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A Child of All Time_ Butoh Dancer Ohno Kazuo at 98 _ Kyoto Journal (1)

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About Julie Tolentino: American artist and dancer | Biography, Facts, Career, Life. (2022). Retrieved 22 May 2022, from https://peoplepill.com/people/julie-tolentino

"Her Body is an Archive" Julie Tolentino's "The Sky Remains the Same". (2022). Retrieved 21 May 2022, from https://pad.ma/DYP/info.

Julie Tolentino THE SKY REMAINS THE SAME – Art Blart. (2022). Retrieved 22 May 2022, from https://artblart.com/tag/julie-tolentino-the-sky-remains-the-same/

Tolentino, J. (2022). TOLENTINO PROJECTS •ART •PERFORMANCE •INSTALLATION•WRiting. Retrieved 22 May 2022, from https://julietolentino.com/biography

Hart, T. (2015). How Do You Archive the Sky? - Archive Journal. Retrieved 22 May 2022, from https://www.archivejournal.net/essays/how-do-you-archive-the-sky/

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Quote on the Body as an Archive

“I am proposing “Will to archive “ as referring to a capacity to identify in a past work still non-exhausted creative fields of “impalpable possibilities” [Massumi 2002,91]

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“Our experience of the body can be understood from the perspectives of the body image and body schema, where the former is related to our perception of the body and the latter to action (Pitron & de Vignemont, 2017, p. 115)”

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"I think a lot about a many-layered body, and that they exist within oneself, not hierarchically, but as an archive where one can move back and forth between experiences of how one has been, that which is contained within who we are now. Within this archive there are deformations of the body, and maybe that is the only thing that exists. The “what we do” deforms us, or forms us, and through, and in, that body we meet new phases in life which in turn deforms us, so in the end we’re a walking archive (Fahlin, 2014, personal conversation)."

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Quote by Kazuo Ohno in "Kazuo Ohno Doesn't Commute: An Interview"

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Quote by Kazuo Ohno in "Kazuo Ohno Doesn't Commute: An Interview"

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"I see, yes. My mother was my director. She was the one I thought about. The movement motifs of My Mother came from what I thought I was doing in my mother's womb. I was in her-what was I doing there? Then came the costume-how to wear the costume. I feel that the costume is the cosmos. I must wear the cosmos and move within it"(Schechner & Ohno, 2014,p3).

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Excerpt from Vodou Vibrations

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Choreographed by Kazuo Ohno.

Butoh (which is a dance step/ancient dance) was founded in 1959, which was against Western contemporary dance. It was purely conceptual, driven by movements that are slow, hyper & controlled motion. Mainly against Western perfection & beauty. Known for being grotesque.

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Quote by Kazuo Ohno on "A Child of All Time: Butoh Dancer Ohno Kazuo at 98"

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Quote by Kazuo Ohno on "A Child of All Time: Butoh Dancer Ohno Kazuo at 98"

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“Alive, in each and every one of us, are countless individuals whose lifetime experiences, joys, sorrows, angers, doubts, and so forth have been successively passed down from one generation to the next. The physical form I assume now is but the fruit of what I’ve inherited from those who have existed before me. What, you might ask, has become of our ancestors’ ideas and emotions? Where do you suppose our creativity springs from? There’s no way that it springs forth from our finite and limited knowledge of life. I’m not the only one who has ever existed; our ancestors haven’t just died and vanished into oblivion. We’re not the fountainhead of our creative powers. Down through the ages our ancestors’ emotions and ideas have accrued and ingrained themselves in the imaginations of each successive generation"

(Barrett, 2019, n.p.)

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Maurissens, M. (2016). The body as Archive. Documentation film. Accessed 6 March 2020. http://www.thebodyasarchive.com/

Thanh Thủy, N. (2020). Rewriting the body archive through performance. Archive(S), (1). doi: 10.47041/ymwt1748

Thuy, N. (2020). Excerpt from Vodou Vibrations [Video]. Retrieved from https://youtu.be/fnmcIo2__YY

Warr, T. & Jones, A. (2000). The artist’s body. New York, NY: Phaidon.

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Barrett, J. (2019). A Child of All Time: Butoh Dancer Ohno Kazuo at 98 . Kyoto Journal.

McElhinney, D. (2022, January 14). Butoh: 5 Things to Know About the Japanese Dance of Darkness. Retrieved May 22, 2022, from https://japanobjects.com/features/butoh

Schechner, R., & Ohno, K. (2014). Kazuo Ohno Doesn’t Commute: An interview. THE MIT PRESS, 30(2), 163–169.

Sankai Juku Kinkan Shonen. (n.d.). [Photograph]. Sadlerswells. https://www.sadlerswells.com/discover-dance/more-about-dance/butoh/

Sankai JukuToki. (n.d.). [Photograph]. Sadlerswells. https://www.sadlerswells.com/discover-dance/more-about-dance/butoh/

Sankai Juku. (2022, January 14). Butoh Dance Troupe [Photograph]. Japan Objects. https://japanobjects.com/features/butoh

Butoh. (2022, January 14). Kazuo Ohno [Photograph]. Japan Objects. https://japanobjects.com/features/butoh

Ohno, K. (1995, November 24). My Mother [Flyer]. Https://Www.Enpaku-Jdta.Jp/En/Detail/03541-03-1995-01. https://www.enpaku-jdta.jp/en/detail/03541-03-1995-01

Ohno, K. (n.d.). Butoh performance art [Photograph]. Pinterest. https://pin.it/4zZS3Ie

In Memory of Kazuo Ohno. (2010, September 5). [Photograph]. Rice Paper Magazine. https://ricepapermagazine.ca/2010/09/columns-and-commentary-in-memory-of-kazuo-ohno-15-3/

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"I want to trace my life back to its most distant origins."
- Kazuo Ohno

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"More so than anything else, I long to return to where I've come from." - Kazuo Ohno

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"Kazuo Ohno engaged in a danced conversation with his mother's spirit."

Anderson, J. (1996). Dance Review; Honoring a Beloved Mother. https://www.nytimes.com/1996/02/09/arts/dance-review-honoring-a-beloved-mother.html

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DANCE REVIEW

This is a digitized version of an article from The Times's print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them.

Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions.

When Kazuo Ohno presents a solo program, he makes every movement peem a memory, or even a dream, of dancing. He combines immediacy with retrospection so that past and present intersect onstage. Mr. Ohno appeared to be summoning up a ghost in "My Mother (Watashi no Okasan)," the hourlong work he offered on Tuesday night at the Japan Society.

Mr. Ohno, one of the founders of the experimental Japanese modern-dance form known as Butoh, turns 90 this year, and he is known for choreography in which he dances in feminine attire. But his performances are more than clever displays of female impersonation. What makes him especially remarkable is the illusion of agelessness.

As its title suggests, "My Mother," which was directed by Yoshito Ohno, the choreographer's son, pays tribute to a beloved parent. Its long program note tells of a dream about a fetus, a mother's death and a son's awareness of human imperfection. Little that happened onstage appeared to be a literal enactment of the events in this scenario. Rather, Mr. Ohno engaged in a danced conversation with his mother's spirit.

Although he wore various blouses, skirts and robes, he made no attempt to persuade the audience that he actually was a woman, as female impersonators in some of the great classical styles of Japanese theater do. Instead, this was a man who was searching so deeply into his memories of his mother that he felt her presence take momentary possession of him.

To a taped collage that included sounds of winds and waves, traditional Japanese music and pieces by such European composers as Wagner and Liszt, Mr. Ohno made wispy gestures, gazed sadly and wonderingly at a long-stemmed flower and touched a low table so reverently it could have been a precious heirloom or sacred relic. Even 'is tiniest step suggested an awareness of life's beauty and transiency.

Near the end of the solo, Mr. Ohno vanished into darkness, and the stage remained a void for a long time. Then he returned, this time in a man's suit. After waving his arms in what looked like despair, resignation and, finally, infinite tenderness, he bowed in what was surely an act of reverence that acknowledged not only his audience, but creation itself.

Yet the performance was not over. There was an encore, to a r'corded gospel song by Elvis Presley. When that music stopped, Mr. Ohno delivered a brief speech in Japanese. A spokeswoman for the Japan Society told me that Mr. Ohno had dedicated the little solo to the memory of his aunt, an admirer of Presley's singing. As Mr. Ohno kept lifting his arms to this gospel music, he might well have been making his dancing say "Hallelujah!" and "Amen."

"My Mother" will be repeated tomorrow and Saturday nights at the Japan Society, 333 East 47th Street, Manhattan.

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DANCE REVIEW;Honoring a Beloved Mother (Published 1996)

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DANCE REVIEW This is a digitized version of an article from The Times's print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them. Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions.

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"Although he wore blouses, skirts & robes, he made no attempt to persuade the audiencee that he actually was a woman... this was Kazuo Ohno searching so deeply into his memories of his mother that he felt her presence take momentary possession of him." (Anderson, 1996)

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Lepecki argues that, similarly, “choreography is also a dynamic system of transmission and of transformation, an archival-corporeal system that also turns statements into corporeal events and kinetic things” (Lepecki, 2010, p. 37). To Lepecki, the performer’s body is not a closed archive, but rather as site for transformation, a site for rewriting experience, through performance."

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https://www.youtube.com/watch?v=doZYtpySkmU

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P(AR)take Tag 02 Gula Matari - Vincent Mantsoe 1993

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Quote from the Guardian on Vincent Mantsoe

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Quote from the Guardian on Vincent Mantsoe

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"he is a magnetic soloist. Even at the start, as he emerges from the shadows, you sense the contained power of his presence. When he moves, he is compelling: nervy twitches cut across the sweeps of his arms; feather-light steps alternate with big, flinging jumps" (Roy, 2009).

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Roy, S. (2009). Vincent Mantsoe | Dance review. the Guardian. Retrieved 22 May 2022, from https://www.theguardian.com/stage/2009/oct/14/dance.

Craine, D., & Mackrell, J. (2010). Vincent Mantsoe. Oxford Reference. Retrieved 22 May 2022, from https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100132831.

Sum, O. (2017). Vincent Mantsoe’s “Gula” – resilient and spiritual – Seminar 1: Arts in New York City (F17). Eportfolios.macaulay.cuny.edu. Retrieved 22 May 2022, from https://eportfolios.macaulay.cuny.edu/eversleyartfall2017/vincent-mantsoes-gula-resilient-and-spiritual/.

Lepecki, A. (2010). The Body as Archive: Will to Re-Enact and the Afterlives of Dances. Dance Research Journal, 42(2), 28-48. https://doi.org/10.1017/s0149767700001029

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Anderson, J. (1996). Dance Review; Honoring a Beloved Mother. New York Times. https://www.nytimes.com/1996/02/09/arts/dance-review-honoring-a-beloved-mother.html

Kim, J. (2019). Butoh, Explained. University of Michigan. https://ums.org/2019/10/17/butoh-explained/

Lepecki, A. (2010). The body as archive: Will to re-enact and the afterlives of dances. Dance Research Journal, 42(2), 28-48.

Slavutzky, B. (2020, January 16). Kazuo Ohno - My mother (1998) [Video]. Youtube. https://www.youtube.com/watch?v=hzmkYu0d8rM

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What is Butoh? In a word, dance-theater...

History of Butoh

Butoh began in 1960s Japan as a new dance-theater form created by collaborations between Tatsumi Hijikata and Kazuo Ohno. The inspiration for this new style was in part a reaction to post-war shock as well as the influx of western influence on Japanese dance, but also a desire to create something which differed from the strict, classical forms of Kabuki and Nōh theater. The two Kanji characters that form Butoh (舞踏) translate to dance and step, although it was originally called ankoku butoh (暗黒舞踏), 'dance of darkness'. Because the term 'butoh' had traditionally been associated with Western or non-Japanese dance forms, this naming reversed expectations about the style and today butoh has come to be recognized as a one of uniquely Japanese origin.

The dance itself is difficult to define, as its founders were not teachers of a method, but commonly used are slow movements, white body paint, and grotesque or sexual imageries, in contrast to characteristics we in the West tend to take for granted as conventions of dance, such as meter determined by music, beauty of form, and immediate spectacle. Although spectacle may be a misleading word of contrast, as the excitement of Butoh often comes from its sheer attention to detail.

Here is a video of one of Butoh's founders, Kazuo Ohno, performing a scene from his piece, 'My Mother'.

Here is another of Ko Murobushi, a student of other founding member Tatsumi Hijikata performing his piece 'Ritournelle' at the Latvian National Opera in 2014.

Note the often begrudging movements, contorted faces, and yet throughout the exact confidence of each motion. At first unsettling, then hypnotic and suddenly beautiful, this is how Butoh is formed.

Butoh and Sankai Juku

The troupe Sankai Juku was founded by Amagatsu Ushio in 1975, and since then has toured worldwide, playing at events such as the Nancy International Festival and Edinburgh Festival, and receiving honours such as the Grand Prix at the Belgrade International theater Festival (1982), 33rd Japanese Dance Critic Association Prize (2001), and Best New Dance Production of the 26th Laurence Olivier Awards (2002). Their special relationship with the renowned Théâtre de la Ville in Paris has resulted in the premiere of a new work every two years since 1982.

When asked what Butoh means to him, founder Ushio said:
"This may actually be closer to a definition of what creation is rather than what Butoh is, but after leaving Japan and looking at things anew, I became extremely conscious of the importance of what I call 'difference and universality' in culture. As we toured the world performing, every city we went to was different in terms of language, food, daily life customs and all. We were drenched in a shower of differences almost every day. And in the process, I realized that culture exists exactly because of these differences. At the same time, on the other extreme there grew in me a heightened consciousness that there is a human "universality" that exists in all people, regardless of nationality or culture...Looking back now, I feel that those personal experiences of universality are the backbone that has enabled me to create and present my works to the world, or perhaps you could say they gave me the courage to work as I have.
Here is our Sankai Juku at Kitakyushu Performing Arts Center in 2015, premiering 'MEGURI' (山海塾). How varied, the execution of each performance, yet how similar their pull, this is how Butoh is performed."

In the 2019/20 season, UMS presents "Meguri" in Sankai Juku's sixth Ann Arbor performance on October 25-26, 2019 at the Power Center. Don't miss this opportunity to see one of the dance world's great jewels!

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History of Butoh Butoh began in 1960s Japan as a new dance-theater form created by collaborations between Tatsumi Hijikata and Kazuo Ohno. The inspiration for this new style was in part a reaction to post-war shock as well as the influx of western influence on Japanese dance, but also a desire to create something which differed from the strict, classical forms of Kabuki and Nōh theater.

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This is the full video of Vincent Montsoe performing Kon Koriti

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This is the full video of Vincent Montsoe performing Kon Koriti

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Lepecki, A. (2010). The body as archive: Will to re-enact and the afterlives of dances. Dance Research Journal, 42(2), 28-48.

Farber, G. (2016, August 18) Kon Koriti [Video file]. Retrieved from https://youtu.be/sw0JKIAD0d0

Mtshali, M. (2020). Interrogating the synthesis of African traditional rituals and spirituality in contemporary South African dance: critical reflections on the dance work of Vincent Mantsoe, Moeketsi Koena, and my own work (Doctoral dissertation).
https://researchspace.ukzn.ac.za/handle/10413/19842

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"Is archiving a paranoiac process about connecting with the past or is it, as Foucault so beautifully suggests in The Archaeology of Knowledge (1972), a system of transforming simultaneously past, present, and future—that is, a system for recreating a whole economy of the temporal?"

(Lepecki, 2010, p.30)

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[...] his discussion of archive includes moments where more embodied practices make an appearance, and where identity and subjectivity are clearly invoked as central to the archival system of transformation.

(Lepecki, 2010,p.38)

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And, as an attractor—that is, a critical point—he started to be treated by them as an archive. Just as with Tolentino, a body was picked to serve as archive. Just as with Tolentino, it was clear that dance can only find its proper archival site onto/into a body—the body understood as an affective system of formation, transformation, incorporation, and dispersion.

(Lepecki, 2010, p.43)

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1. Cie Vincent Mantsoe (n.d.) Photos [Facebook Page] Facebook. Retrieved May 22, 2022, from https://www.facebook.com/profile.php?id=100063715081153&sk=photos_of
2. Günter Faber. (2016, August 18). Vincent Mantsoe Kon Koriti. [Video]. Youtube. https://youtu.be/sw0JKIAD0d0
3. Lepecki, A. (2010). The body as archive: Will to re-enact and the afterlives of dances. Dance Research Journal, 42(2), 28-48.
4. Lockhart, J. (2014, July 31). “Big Talk, 7/31/2014” [Radio Broadcast] Digital Commons. https://digitalcommons.usm.maine.edu/wmpg_bigtalk/121
5.Numeridanse (2014, March). Men-Jaro. CND - Centre national de la danse. https://www.numeridanse.tv/en/dance-videotheque/men-jaro

6.Vincent Mantsoe. (2014, December 19). Extrait Skwatta.[Video]. Youtube. https://youtu.be/MzKiqMCKVFY
7. Wikipedia (2022, April 27) Vincent Mantsoe. https://en.wikipedia.org/wiki/Vincent_Mantsoe