Butoh, though often referred to as a dance form, has been adopted by various theatre practitioners as well.

Butoh appeared first in Japan following World War II and specifically after student riots.

While ' Ankoku Butoh ' can be said to have possessed a very precise method and philosophy ( perhaps it could be called ' inherited butoh '), I regard present day butoh as a ' tendency ' that depends not only on Hijikata's philosophical legacy but also on the development of new and diverse modes of expression.

A Butoh performance choreographed by Yoshito Ohno appears at the beginning of the Tokyo section of Hal Hartley's 1995 film Flirt.

Butoh performance features heavily in Doris Dörrie's 2008 film Cherry Blossoms, in which a Bavarian widower embarks on a journey to Japan to grieve for his late wife and develop an understanding of this performance style for which she had held a lifelong fascination.

Most butoh exercises use image work to varying degrees: from the razorblades and insects of Ankoku Butoh, to Dairakudakan's threads and water jets, to Seiryukai's rod in the body.

This seems to point to a general trend in the West that butoh is not seen as specific movement cues with shapes assigned to them such as Ankoku Butoh or Dairakudakan's technique work, but rather that butoh is a certain state of mind or feeling that influences the body directly or indirectly.

But when the restaurant is full and bustling, there is a kind of theater that happens inside …” Butoh frequently occurs in areas of extremes of the human condition, such as skid rows, or extreme physical environments, such as a cave with no audience, remote Japanese cemetery, or hanging by ropes from a skyscraper in front of the Washington Monument.

While butoh does not have a codified classical technique rigidly adhered to within an authoritative controlled lineage, Hijikata Tatsumi did have a substantive methodical body of movement techniques called Butoh Fu.

Butoh Fu can be described as a series of cues largely based on incorporating visualizations that directly affect the nervous system, producing qualities of movement that are then used to construct the form and expression of the dance.

In this author's experience, when studying with various students of Hijikata, a tradition of Butoh Fu seems to be a common trait, more pronounced than in students of Ohno.

The continuity of Butoh Fu as a methodical approach to training and building performance does provide a line of analysis for traditional continuity and dissemination, just as do parallel techniques do for other performance traditions.

Butoh is also created and performed by non-Japanese Canadians – Thomas Anfield and Kevin Bergsma formed BUTOH-a-GO-GO in 1999 billing it a " Second Generation Butoh / Performance Company.

The Swedish SU-EN Butoh Company tours Europe extensively.

For the work he collaborated with Butoh dancer Sekiji Maro and cinematographer Kazuro Kato, the later of whom previously worked as a cameraman for Akira Kurosawa.

It would later influence other dramatic forms such as Kabuki and Butoh.

It can use elements from non-western dance cultures, such as African dancing with bent knees as a characteristic trait, and Butoh, Japanese contemporary dancing that developed in the 1950s.

was a Japanese choreographer, and the founder of a genre of dance performance art called Butoh.

It is this style which is most often associated with Butoh by Westerners.

He undertook his first Ankoku Butoh performance, Kinjiki, in 1959, using a novel by Yukio Mishima as the raw input material for an abrupt, sexually-inflected act of choreographic violence which stunned its audience.

Hijikata conceived of Ankoku Butoh from its origins as an outlaw form of dance-art, and as constituting the negation of all existing forms of Japanese dance.

Many of his early works were inspired by figures of European literature such as the Marquis de Sade and the Comte de Lautréamont, as well as by the French Surrealist movement, which had exerted an immense influence on Japanese art and literature, and had led to the creation of an autonomous and influential Japanese variant of Surrealism, whose most prominent figure was the poet Shuzo Takiguchii, who perceived Ankoku Butoh as a distinctively ' Surrealist ' dance-art form.

From 1960 onward, Hijikata funded his Ankoku Butoh projects by undertaking sex-cabaret work with his company of dancers, and also acted in prominent films of the Japanese ' erotic-grotesque ' horror-film genre, in such works as the director Teruo Ishii's Horror of Malformed Men and Blind Woman's Curse, in both of which Hijikata performed Ankoku Butoh sequences.

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