The Savage Shaman

Spiritual temples are as ironic as they are awe inspiring: as religious structures that house both the religious hierarchy and the scriptural tradition that give the hierarchy its continuity; yet at the same time these architectural manifestations are the living embodiment of sacred geometry, within which the play of light and sound is designed to transport the human creature from the mundane to the divine.

Perhaps this connection is easily overlooked. Everyday worshippers in temples of every kind of every religion around the world tend to succumb to the status quo, the accepted behavior and beliefs that are recited from the pulpit by a human interpreteur of the relevant scripture. In most every temple, anyone who violates the proscribed code of behavior is escorted out, barred from entry and participation.

However, where the tradition of temple dancers survives, the temple priests remain vulnerable to exposition and humiliation lest their intentions run afoul of the truly divine. BEWARE of temples where dancing is prohibited – there you will not find wisdom, only fear. APPROACH WITH CURIOSITY the temple where dancing is not only allowed, but encouraged, and you will find wisdom and freedom.

This is the kind of freedom that I experienced at Tara Mandala Buddhist Retreat Center in Pagosa Springs, Colorado – even as an ordained nun. I was encouraged to share my experiences as a Butoh dancer and teacher to the residents and even in the temple. I was honored to offer a Butoh workshop to the residents of Tara Mandala, and to perform Nihon Buyo, Iado and Butoh within the sacred context of Ganachakra, or Tsok, for teachers such as Tulku Sang Ngak Rinpoche and Lama Wangdu Rinpoche.

These sharings were the genesis of my interest in the overlapping of Butoh, Rushen, and Chod – the essence of my forthcoming thesis.

Rather than explain more in words here, may I express so much in dance?

I invite you, dear reader, to relax your logical, reasoning mind, and soften your gaze on this performance. Allow the images to float in your subconscious, and watch what rises to the surface without attachment or judgement.

In this way, when you witness Butoh, you are as much a part of the performance as the performer herself, you are also Butoh, and the quality of what we share in-between is called Ma.