Personally, I rigorously attempt to document every time I end my practice session. I tend to divide the notation in two parts; a section dedicated only to record the exercises, visualisations and explorations as it is important to notate the processes, qualities, that emerge through them, and another section dedicated to how such exercises effect my personality, my emotions, my broader understanding of living in between processes of life and death, fulness and emptiness.
Notation does not need to be long and articulated, at times just recording simple words alongside to the exercise will serve as a memo.
Documentation is important also to record time and space, personal and societal changes and how these become present in the dance we desire to present to ourselves and to the audience, this implicating aesthetic choices that mutates accordingly to our transformations.
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The past decade has produced some very interesting readings on Butoh,
here below are links and directions towards some good readings:
Sondra Horton Fraleigh: Dancing Into Darkness: Butoh, Zen, and Japan and Butoh: Metamorphic dance and global alchemy
Toshiharu Kasai: Butoh Perceptions available at http://www.ne.jp/asahi/butoh/itto/method/butoh-perception.pdf
Frances Barbe: The Difference Butoh Makes: A Practice-Based Exploration of Butoh in Contemporary Performance and Performer Training available at https://www.academia.edu/1972219/The_Difference_Butoh_Makes_A_Practice-Based_Exploration_of_Butoh_in_Contemporary_Performance_and_Performer_Training
Min Tanaka: “From” I Am an Avant-Garde Who Crawls the Earth: Homage to Tatsumi Hijikata available at: The Drama Review: TDR, Vol. 30, No. 2 (Summer, 1986), pp. 153-155Published
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Wishing you a good reading time,