Ko Murobushi’s Misstep: From Subordinate Body to Utopian Body
Choreography was born under the reign of Louis XIV as a political technique to symbolize the “orthodox pas” in dance and to control bodies under power. In 1913, Nijinsky broke this norm with The Rite of Spring, intentionally choreographing “faux pas.” This choreography assigned the role of the sacrificial figure who deviates from the community and moves toward death. In reality, Nijinsky himself became an outsider confronted by madness and death. It was Maurice Blanchot who famously employed the concept of the “faux pas” as a form of deviation. Drawing on the ideas of both, Ko Murobushi performed dances toward death inspired by the motif of Sokushinbutsu (self-mummification). In both Nijinsky’s and Murobushi’s cases, might the “faux pas” have led to the emergence of a utopian body? This study attempts to explore the historical and contemporary significance of this phenomenon through the genealogy of the body and power.
Profile
He is an Associate Professor in the Faculty of Humanities and Social Sciences at Tokyo Metropolitan University, specializing in Performing Arts Research and Body Theory. He is the author of Contemporary Dance Today: Horizons after Non-Dance (Kokusho Publishing, 2020) and co-author of Anti-Dance: Choreography of Unwork (Suiseisha, 2024). His articles include “Dance as Antibody: Contact Gonzo’s ‘Choreographic Concept for Untrained Amateurs’ Trilogy” among others.