Dancing Into Darknessis Sondra Horton Fraleigh's chronological diary of her deepening understanding of and appreciation for this art form, as she moves from a position of aesthetic response as an audience member to that of assimilation as a student. As a student of Zen and butoh, Fraleigh witnesses her own artistic and personal transformation through essays, poems, interviews, and reflections spanning twelve years of study, much of it in Japan. Numerous performance photographs and original calligraphy by Fraleigh's Zen teacher Shodo Akane illuminate her words.
The pieces ofDancing Into Darknesscross boundaries, just as butoh anticipates a growing global amalgamation. "Butoh is not an aesthetic movement grafted onto Western dance, " Fraleigh concludes, "and Western dance may be more Eastern than we have been able to see. "
Dancing Into Darknessis Sondra Horton Fraleigh's chronological diary of her deepening understanding of and appreciation for this art form, as she moves from a position of aesthetic response as an audience member to that of assimilation as a student. As a student of Zen and butoh, Fraleigh witnesses her own artistic and personal transformation through essays, poems, interviews, and reflections spanning twelve years of study, much of it in Japan.
“Should inspire anyone interested in the active feminine voice...It has a niche beyond the dancer-reader, to those drawn to Japan, to cultural anthropology, and to cross-culturalism.”
—Janice LaPointe-Crump,Texas Woman's University
“Through examining the ‘other,’ one learns about one’s own culture, values, and aesthetics. . . Sondra’s book allows us to do this, because of her subject, remarkable insights, and captivating writing style.”
—Joan Laage, Artistic Director of Dappin' Butoh
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