Taketeru Kudo, a Butoh dancer from Japan, showing a surge of energy that butoh as unstoppable. The spirit returns the body of the purbawi essence present wild animals are shocking and terrorizing.
Kazco Takemoto, contemporary choreography and the four espy antiquity Wiwohatmo Bimo repertoire Kudo.
Hobbled, Takateru Kudo across the stage, go ahead approaching the audience. He's chortling like a lost memory. His face was black by makeup, just the forehead and nose bone white pungung clean. Mengibas-ibas tail tied in themselves aprons that look like themselves aprons sumo wrestler.
Audience giggles see Kudo one-two running one-two step. He was poking into the audience, staggered like a drunk, his eyes staring at the trees in the nanar Vanguard audience. Kudo merambati rebounder that tree selincah monkeys, in a second to have stood three meters tall branches. Like the Scouts, he memicingkan eyes see a hundred spectators who instantly silent, tension merebakkan silent.
Five seconds later, Kudo jumps down, career-wise, ran two staircases leading to the stage, stumbling and slammed hard on the concrete floor is grounded in the tarp. So hard her body hit the floor of the stage, until the audience audibly shocked pekikan.
His eyes, his hands stiffened nanar shoves claw, crawl three-four steps, like a lion that is torturing the prey. Tertelungkupnya body like a snake, spent one minutes to crawl a distance of five meters. Like the Wolf, he braved the lights in the corner of the stage. A look at foreign goods, the lamp ditatapinya in a 5 centimeter protective gauze menampari, his hands, his head lamps lights mendorong-dorong.
She spat vehemently, as explosions and wounds. No more audience giggles, that there are people sigh, or even silent shudder. Kekehan Kudo sounds obvious, even ringisan Kudo who like to cry without a voice, like a loud drone swarm stage silent tension.
With a hand as if chained, he was pacing around the four pillars lining the stage House 9A in Cibubur, Depok, West Java. Kudo occasionally present as engselnya robot that is full of rust, stuck unable to move.
Other times, the hinges back into a flexible joint delivery, running around playing on stage, so fast as if Vertigo by chasing down throw is aware, like the body of the Sufis which Turkey plays quickly when dances Sema. Body vibrates off a bound tail Kudo in cawatnya, throw it random, such as marking the evolution of bestiality to humanity.
The totality of the body
Kudo is second generation Butoh performers, a performance art that developed late 1950, born from the Japan artists tear experiments limits the notion of dance, theater, or whatever.
Maestro Butoh pioneer, Tasumi Hijikata and Kazuo Ohno Butoh, presenting it as an exploration of the body's total, return the expression to the essence of primitive, ancient body. Like the other performing Butoh performers, Kudo "not beautiful" watchable, yet captivating.
The observer of art, Efix, in the introductory note Mulyadi performances called Butoh as a badness staging, bitterness, pain, horror. Butoh refers to as a revolt against all sizes beauties dance or theater of the West and Japan, memanggungkan chaos that manifests from an experience the destruction of humanity, as well as hope.
Long lived practice Butoh Kudo with Akiko Motofuji, Tatsumi Hijikata's widow, all the way to New York, Vancouver, Jerusalem, Moscow, as well as tens of years memanggungkan the rigors of Butoh is not made easily parse what meaning Kudo totality for her body.
Kudo is not only presenting the hard form of Butoh. After disposing of his beast's tail, Kudo came into berdaster, the woman who actually speak in the female body. He is a spoiled flirty romance, lay, played every detail of her body, from her hands and fingers around her lips like a dandy.
A personal yet others presented a show as Kudo, a person loses. The chunk of the dijunjungnya head up high so heavy, her body slammed hard hit the floor. The chunks into a crowd of spectators who promptly dodged, risi by the terpercik to the keringatnya precisely nowhere. When the chunk of it is no longer capable of lifting, as despair he ran braved the crowd of onlookers, kept running down the highway, until sat speechless on the roadside.
Affairs of the hereafter
accompanied by Kazco Takemoto permenungan of death in contemporary choreography "Affairs of the hereafter". It was about losing Takemoto of the teachers, a dancer and his friends passed away dibayangkannya in the natural life of the hereafter. While he is getting on in years, the tersendirikan age, separate from the realm of the afterlife but as increasingly missed her.
"I always ask, where do my Masters after they died? My work is like a country road toward the afterlife, that each pementasannya is always different, processed. It was such a long journey to the world of the afterlife that actually we don't know about it so that we continue to find out about it, "said Takemoto.
Takemoto's choreography ended with beautiful scenes of Takemoto Crown very long-tailed white sheets, which are strung on each of the dancers meet every corner of the stage, drove him away. Lighting adds to the feel of a mystical Masaru Soga departure Takemoto, also transparent white cloth Crown sparkle Takemoto.
Wiwohatmo Bimo, choreographer from Yogyakarta, fulfilled by Kudo and Takemoto with four of his repertoire. "Vincent", a work which lasted four minutes, presenting the Bimo "dance-theatrical". A painter knelt with brushes, sculpting "are painted the figure of another man standing with arms outstretched sculpting.
The two dancers were simply sculpting to the repertoire, motionless in the slightest, while in the background the stage, Masaru Soga showing projections of various paintings of Vincent van Gogh, painter Netherlands exports. The second dancer's body was initially drowned out by projections of Van Gogh paintings, dancing in the keterpatungan. Source: Kompas Print Editor: Jodhi Yudono Tweet
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