This Guest Teacher Lab is divided into two different modules. Modules can be taken separately or together; early registration and discounts, however, are only open to those who plan on taking both modules.

This Guest Teacher Lab is open to dancers, body-rooted performers, physical actors of all levels, ages, and capabilities. Modules will explore the following elements and subjects:

Module I  // Introduction: Dairakudakan Philosophy & Approach (12 hrs)
Oct 2nd-3rd, 6pm – 10pm; October 4th, 10am – 2pm

In this module, participants will be introduced to Dairakudakan’s basic philosophy and approach to body and butoh. You can expect to encounter the following ideas:

  • Becoming “empty”: uninstalling our selves from our body, being one “thing” which is not a human being
  • Body as container: now “empty,” putting information from outside one’s body to create new movement
  • Unusual darkness: after experiencing this physical/bodily emptiness, we next explore emptiness in mindset. We seek to encounter and coagulate moments within the quotidian estranged from the conditioned mind. This unique state of decontextualization allows us to explore and freeze-dry these hidden moments, and in these moments, we find the dance.

Module II // Performance Collaboration & Public Presentation (40 hours)
October 6-17: 6pm-10pm (Days off: Oct 11-12 // Public presentation: Oct 16&17)

In this 40-hour module, Daiichiro aims to create a new collaborative work, based on the Dairakudakan body theory, together with all participants. Participants will be exposed to all aspects of making a piece, which can include costume making and technical preparations, and it will culminate in a public presentation at CAVE.

The theme of this collaborative piece is “Gap”. “Gap” refers to the idea of disparity: that which is not fitted, or that which is disjunct or apart. This could be the physical, spatial relationships, such as those inhabited within a city, or more temporal or intangible concepts, such as the difference between generations or sexes. Daiichiro wishes to explore the potential that exists at the cusp of un-fitting, of a perpetual in between; an abundance springs from a crowd of bodies which prevails within this state of existence.

Full Session, Module I&II: $721.22
Module I Only: $180.54
Module II Only: $597.63

Pre-registration is required. Members’ discounts and other discounts valid for online payment only. Early registration and discounts are only open to those who plan on taking all the modules.


Full Schedule:
October 2nd – 17th, 2015

Detailed Schedule:
Module I
Introduction: Dairakudakan Philosophy & Approach
Oct 2nd-3rd, 6pm – 10pm; October 4th, 10am – 12pm

Module II
Performance Collaboration & Public Presentation
October 6-17: 6pm-10pm
(Days off: Oct 11-12 // Public presentation: Oct 16&17)

Daiichiro_Sq ProfileSince joining Dairakudaken in 2003, Daiichiro Yuyama has since performed in all of the company’s main works. Originally from Kyoto, Japan, Daiichiro’s first work with Dairakudakan, “Daiseikai” (“The Great Answer”), appeared in Kochuten Series of 2012. Daiichiro has also worked with Zen Zen Zo’s “Gaia,” Amon Miyamoto’s “Kinkaku-ji” (“The Golden Pavilion”), and Juro Kara’s “Hitode” (“The Starfish”).

Founded as one of the first Butoh dance companies in 1972, Dairakudakan is the product of Akaji Maro, based on his strong beliefs on “Tempu-Tenshiki” and “Miburi-Teburi”. Dairakudakan emerged on to the international scene in 1982 with the world premiere of  “Kaiin no Uma” (The sea dappled horse) in Avignon, France, and is largely recognized as the first company to introduce Butoh on a large scale to Europe and the United States.

In accordance to the company’s mission, Maro also encourages his company members to develop their own way of expression; several Dairakudakan company members, including Daiichiro, have developed and presented works as Kochuten performance, and has toured internationally. Dairakudakan has received numerous awards including the Japan Critics Awards in 1974, 1987, 1996, 1999.,and 2008.

 DCALEIMAY Ludus Labs are supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.