BUTOH
Here is a lovely butofu or some text
A big ant travelling across their face
Rain hits every-side of every-thing
Every drop a kiss
I have trained in butoh since 2016 with my main teacher Ken Mai (Japan/Finland), also performing in and assisting his choreographies, including Spring Breeze (Naapuruusviikko, Helsinki, 2025) and Concordia (Espoo Museum of Modern Art, 2022). My training as well includes workshops with Ezio Tangini (Italy/Portugal), Tashi Iwaoka (Japan/Finland), Maruska Ronchi (Italy), and intensive studies with Fran Barbé (Australia) and Ephia Gburek (USA/France).
Butoh has become central to my practice. It shapes not only my physical expression but also how I perceive and respond to the world, how I create, and even how I share my work. Every artistic project I take on carries some degree of butoh influence - whether on stage, on screen, or in site-specific interventions. This presence may be subtle or dense, playful or raw, depending on the context.
My artistic research and pedagogical offerings are likewise grounded in butoh, extending its spirit of transformation and radical listening into diverse formats.
Some works I consider “more butoh” than others, though not all were created with the intention of being butoh pieces. For me, butoh is not a genre I step into and out of - it is an undercurrent, always present, shaping the density, texture, and resonance of my artistic life.
-
It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more. Or maybe you have a creative project to share with the world.
-
It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more. Or maybe you have a creative project to share with the world.
-
It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more. Or maybe you have a creative project to share with the world.