Furutani is Berlin-based Butoh dancer born in Osaka. Furutani started to develop an interest in Butoh in 1995 and has performed it since. He is a graduate of the Nihon University College of Art in Tokyo Japan in the Department of Theater.
Furutani collaborated extensively with film-makers, dancers, actors and musicians. Furutani spent most of his professional life on tour since 1998, visiting the United States, Latin America including Cuba, Europe and around Asia. These travels broadened his artistic exposure both as a Butoh practitioner as well as educator.
Furutani focuses on the improvisation technique to negotiate with expression manner. Acoustics are the major area Furutani investigates into in this regard. He draws inspiration from modern and classical materials alike and brings arts, science and environments into dialog. His three solo performance projects entitled “Onomatopoeia Disintegration ” (20 min; 2013), “On a remote Land” (20mins; 2014) and “Plant Mankind” (50mins; 2015) staged in Berlin, are exemplary of his research process and on-going experiment with artistic qualities and potentials in materials in his immediate surrounding.
Dedicated to promote Butoh, Furutani gives regular Butoh workshop in Berlin. In addition, he has been invited to lead workshops held in conjunction with dance festivals in Athens, Instanbul and Germany. Taking the chance to promote Butoh in these workshops, Furutani also demonstrated the experimental edge of the art form.
Lamentation – Agnus Tam & Michiyasu Furutani
“Lamentation,” Tam & Furutani’s contribution especially developed for The Beholder group exhibition is a performance piece presenting a prostitute’s monologue. The body is framed as representation of group identity entrapped between visibility and invisibility under the societal gaze. The conscious scrutiny of the relationship between agency and objectified body creates an mis-en-abyme contestation. The body is regarded as being instrumentalized in porn and in prostitution. Meanwhile, critical reflections on the fetishization of the body operate more or less on its objectification. Arriving at the discursive limits, the performance attempts to imagine an exit by “abjectify-ing” representations.
Michiyasu Furutani homepage