Butoh has been defined by Takashi Morishita (2015) –director of the Hijikata Archive at Keio University–, as an “art form”. Not only to transcend the western separation between dance and theater, but to clarify the complex proposal called Butoh Fu that Tatsumi Hijikata developed around the 70's, which proposes a methodology to embody sensory images that become in movement, being necessary to activate bodily states and mental in constant flux.

Combining my studies in neurodance, I propose an approach to Butoh based on visual references or synaesthetic instructions, which trigger not only movement or body shapes, but also mental images, energetic states and the activation of the sensorium. In short, Butoh, from the perspective I want to address, loses its mythical "Ankoku" (darkness) and its link with the atomic bomb, to rescue its interdisciplinary character and its transforming power.

A common point within the various currents of Butoh, is that they do not work

necessarily with dancers or people with previous experience, but is open to whoever is willing to investigate their own bodily possibilities –and impossibilities–.

My proposal takes up this inclusive character of Butoh, prioritizing curiosity, need or interest in undertaking an introspective process that reveals heterogeneity, uniqueness and confronts body stereotypes. I bet not on normed bodies or fictional characters, but on those who dispose themselves - carnal and symbolic matters - to a state in which there are no Cartesian separations between mind-body or interior-exterior.

Focused on Butoh Fu and the methodology that I am reconceptualizing from neurodance, the workshop explores different ways around the emergence of movement and its links with memory, imagination, sensation and emotion. In addition to this, explorations of expanded perception are proposed (deep listening, dynamic meditations, sight cancellation, sensory or haptic stimulation), which trigger their own searches from the needs and possibilities of each body.

An invitation to share and investigate collectively, some essential aspects that this art form has so generously left us: the capacity for connection between the interior and the exterior, its deeply inclusive character and the infinite possibilities of transformation: not doing, not acting. , not express, BE.