
Ankoku Butoh is a style of avant-garde dance that established itself in the counter culture experimental arts scene of post WWII Japan. The dance form is thought to have been founded by Tatsumi Hijikata, who both created and performed in butoh pieces from the late 1950’s - through the early 1970’s. In butoh, the style of movement is extremely stylized and deliberate, vacillating between slow and sharp, expressing feelings of dread, sexualization, violence, calmness, birth and “creatureness” among other things. This performance of Summer Storm was originally recorded in 1973 at Westside Auditorium, Kyoto University, Japan, and was Hijikata’s last public performance before his death in 1986 with Butoh of Dark Spirit School. Video version produced in 2003.

Ankoku Butoh is a style of avant-garde dance that established itself in the counter culture experimental arts scene of post WWII Japan. The dance form is thought to have been founded by Tatsumi Hijikata, who both created and performed in butoh pieces from the late 1950’s - through the early 1970’s. In butoh, the style of movement is extremely stylized and deliberate, vacillating between slow and sharp, expressing feelings of dread, sexualization, violence, calmness, birth and “creatureness” among other things. This performance of Summer Storm was originally recorded in 1973 at Westside Auditorium, Kyoto University, Japan, and was Hijikata’s last public performance before his death in 1986 with Butoh of Dark Spirit School. Video version produced in 2003.
2003-01-01
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5.9In a long, diaphanous skirt, held out by her hands with arms extended, Broadway dancer Annabelle Moore performs. Her dance emphasizes the movement of the flowing cloth. She moves to her right and left across an unadorned stage. Many of the prints were distributed in hand-tinted color.
6.0A glimpse into the world and methodology of dancer Martha Graham.
0.0A feature-length film about the life, work, influence and impact of California-based choreographer/Arts Activist Bella Lewitzky. Described as "...one of the greatest American dancers of our age," (Walter Terry) Bella Lewitzky was a talented, strong, out-spoken artist, who dedicated her creative life to protect the rights of every American citizen.
0.0Piel dolor (Skin Pain) explains how power is structurally sustained in violence. Its nature and the relationships it establishes in society are based more on the imposition and use of force than on building consensus, dialogue, and respect for diversity. In that sense, power is a behavior that seeks dominance through force and man as a gender, becomes an instrument of violence that is exercised against the weakest. Extinguishing the socially constructed violence means eliminating the current power and its historical sustenance, questioning the source of origin, religion, ideology, the system and its values. Is that utopia possible?
8.0Alexis, a talented and proud student of the National Ballet School of Cuba, spends his life practicing chassé and entrechats with his girlfriend and dance partner Yelenia. However, when his family moves to Florida to be reunited with his sister, he must adjust his expectations and dreams to a radically new environment. Alexis, facing rejection and homesick for his native Cuba, feels lost and alone. He must find his way in the world of American ballet while remaining faithful to his roots.
4.7This is another short, simple dance number. It’s quite stunning and unusual though with a bat turning into a woman who proceeds to give us a skirt dance before disappearing into thin air. The dance is mesmerising with the skirt stunningly changing colour throughout the film.
A joyful Pas de Deux, performed by Clara Rasmussen and Margrethe Andersen. Clara Rasmussen/Wieth/Pontoppidan (1883-1975) was to become one of the most famous actresses of Danish silent cinema; one of her most notable performances is in Dreyer’s 'Leaves from Satan’s Book' (1921), in which she plays Siri in the last of the four sections. (Stumfilm.DK)
Three young women with dark, curly hair stand on a stage with a black background and patterned carpet or tile underfoot. They wear tights, ballet shoes, and frilly dresses to the knee with multiple petticoats and ruffled drawers. They begin by raising their right legs up by their heads, and then perform a dance with a variety of kicks and leg movements, their hands either in the air or pulling up their skirts. The sisters also grab their right legs again and hop in a circle, then do cartwheels and land on the floor in the splits. Jumping back to their feet, the women twirl in circles and around each other in circles in what appears to be a type of pirouette, while holding up their skirts and showing their bloomers in a manner similar to the cancan.
“By the Leanders. The dress of one consists of a pair of wings and a bow and arrow; the other represents a fairy. Bathers in all stages of dress and undress watch the graceful dance.” (Edison film catalog)
A woman in a white gown performs a skirt dance, using her arms to produce circles and other patterns within the folds of her costume. Her legs and feet appear to be bare. (Library of Congress)
5.0A woman wearing dragonfly wings performs a romantic dreamlike dance.
0.0Suffering debilitating grief from the passing of his best friend who introduced him to the world of dance, Derrick must confront a monster that seeks to separate him from everything he loves.
0.0Stepping is a dance form that can be found across the country at virtually every college with a substantial African American enrollment. Stepping is performed informally during parties as well as more formally during organized step shows. This film explores this tradition, its historical roots as well as its contemporary forms, styles and uses, to understand how students construct various levels of identity through this dance form…African American identity, fraternity or sorority identity, gendered identity and personal identity. The film goes behind the scenes with the Alpha Phi Alphas as they prepare for a step show that is only a few hours away. Cutting between this show and interviews with current and past steppers as well as footage from previous shows, the film provides a broad picture of this vibrant and dynamic dance form.
0.0Portrait of Lester Horton, a Los Angeles-based dancer, choreographer and teacher who trained many world-reknowned dancers and built the first American theater devoted permanently to dance. Former students and friends, including Bella Lewitzky, Alvin Ailey, and Carmen de Lavallade, help create a picture of Horton through interviews. Includes numerous dance excerpts.