※摘譯自 “Hijikata Tatsumi and Ohno Kazuo" 頁114-5
> 以視覺化芯作為開始──你身體的最中心。那並不是一個地方；它是一種感 覺。慶人說在日文裡芯是寫成くさのこころ(草之心)。現在握著一樣東西開始 走。這樣的走能夠多慢──“不動作的毅力”？慶人說“如果你持續走上7年，當你 握著的那樣東西消失時，你就會在你自己裡面擁有芯了。”他說“你需要毅力才 能達成他所稱的舞踏，而且就像土方在舞蹈時手上也會拿著一朵花，花正是 一個舞踏的主題。”要記得大野對花有著特別的關聯，將它們視為“感覺器 官”。慶人說在一雄的世界裡花是最理想的存在形式。
> 在這練習的一開始將一雄關於花的舞踏譜俳句寫下來，於是在你舞蹈時就可 參考它並反覆體會。找一段簡單的音樂是柔和與和諧的，有著心與芬芳。要 用器樂，而非人聲，因為歌詞可能會與你純淨的花一般的意識相牴觸。多用 些時間去自然地看著花，也許那是花園，或是生長在田原和路旁的野花。這 朵花可能是被遺忘或者有人照顧。選擇你自己的花。在你的工作筆記裡，將 你的花畫出或描出來，這是練習關於芯的舞蹈體驗。
Yoshito’s workshop words on Patience
Yoshito’s workshop words are recorded and translated by Tamah Nakamura, March 19, 2005. DANCE EXPERIENCES on the teaching of Yoshito are reconstructed and extended with preparations and further instructions by Fraleigh and Nakamura.
Note on Orchids, Patience, and Shin
In his workshops, Yoshito sometimes teaches “The Patience of Not Starting,” taking this theme from the shinpijimu (Cymbidium), an orchid that takes seven years to grow starting from bacteria, from fungi. For Kazuo this not starting is the essence of butoh, according to Yoshito. He says that an important element of this is shin (centeredness, heart, body, tree trunk, spirit).
> Begin by visualizing Shin — the very center of your body. This isn’t a place; it is a feeling. Yoshito says that in Japanese shin is written as kusa no kokoro (heart of grass). Now begin to walk holding something. How slow is this walk – “the patience of not starting”? Yoshito says that “if you continue to walk for seven years, when the thing you are holding is gone you will have shin in yourself.” He says “you need patience to reach what he calls butoh, and that just as Hijikata also danced with a flower in his hand, the flower is a butoh theme.” Remember that Ohno had a special relationship to flowers, considering them “sensory organs.” Yoshito says that flowers are the most ideal form of existence in Kazuo’s world.
> Carry your flower in the center of your heart. Keep moving on with the flower, until you become the flower. As you transform into the flower, let your heart guide your dance. Carry patience in your heart, just as the flower is unassuming and gives its fragrance to the world without being asked. Let the flower carry you now. Let your dance finish in its own time and its own way. Continue to breathe into the shin of yourself. What is left residing in your body?
Preparation for Shin
> Write down Kazuo’s butoh-fu haiku on flowers at the beginning of this section, so you can refer to it and let it ruminate in your dance. Find simple music that is soft and harmonious, that has fragrance and heart. Use instrumental music, not voice, because the words can interfere with your pure flower-consciousness. Spend time in nature looking at flowers, maybe a garden, or wildflowers in fields and beside the pavement. This might be a forgotten flower or one that is tended. Choose your flower. In your journal, paint or draw your flower as practice for the DANCE EXPERIENCE on Shin.
Reflections from Yoshito
In my first recital, when I was at the age of thirty, in 1969, I was practicing very hard and I asked Hijikata to write something about my dance. He said, OK, and he wrote: “Yoshito’s dance is flower and bird.” Anyone could see that, but he just wrote flower and bird. Well, they are internal and external elements tied together.