“ATK doesn’t aim to abide by all butoh’s rules and incorporates other elements. One is wonderful music that includes harmonic singing by the large cast of dancer/singers and live saxophone and percussion by Jeremy Slater and Gregory Reynolds. The recorded soundscape includes music by Bloody Panda and Bryan Camphire. The sax is used to create whining, scratching, screeching noises that superbly support the button theme of destruction and angst. It’s not a feel-good dance. It’s about fear and we in the audience experience this as a tightening in the chest. The dance feels longer than its seventy-odd minutes and that … Continued

“Jerome Bel and Pichet Klunchun couldn’t have less in common if they tried. One is a conceptual French choreographer, the other a traditional Thai dancer. In ”Pichet Klunchun and Myself”, the pair face each other on a bare stage – just two men sitting on the floor with a laptop between them – demonstrating the disparity of their cultures by grilling one another with the dexterity of chess players and punctuating their points with dance. By the end, their differences swirl down a drain of their own making. It’s a stunning work of art – complex and curious, full of … Continued

“A solo by Atsushi Takenouchi, which opened a week of pro­grams at Cave, was something of a surprise. What made the 90 minute event come alive was not so much Mr. Takenouchi’s piece, “Skin: Improvisation No. I,” but the ambient or unplanned effects that accompanied it. Audiences filing into the thea­ter were greeted by the sight of Mr. Takenouchi, who has per­formed and taught his own Jinen Butoh style around the world since 1986, miming in very slow motion on the sidewalk. He then proceeded gradually into the space itself, accompanied by a videographer and audience members, one checking her … Continued

“Still, the most invincible performance remains Eiko and Kama’s “Mourning” collaboration with the avant-garde pianist Margaret Leng Tan. Eiko and Koma, who studied with both Hijiknta and Mr. Ohno and have been working in New York since the 70s, choose not to label their art as Butoh. In the end labels don’t matter much; in the spirit of Butoh, it’s the art itself that lives or dies.” – Gia Kourlas, “When Packaging Radical Art, Be Careful Not To Damage The Contents”, The New York Times, 2007