Why Butoh matters for emerging Africa and a changing world

HAVING spent over two decades immersed in the world of Butoh, I believe its principles offer vital ways for humanity to rethink itself—particularly from perspectives outside the West.

- jackï job

As the pioneer of Butoh on the African continent and a first-generation performer in the line of Ohno Yoshito, my work sits at the intersection of dance, research, philosophy and lived experience.

Over the years I have developed performance processes and specialised methodologies that extend far beyond the stage. These approaches have meaningful applications in sports science and wellness, in the development of artificial intelligence, and in addressing sociopolitical and ecological challenges.

The foundation of my work lies in understanding the body as a site of potential—the place where transformation begins and is continually reshaped.

For such knowledge to remain active and relevant in society, it must be nurtured across multiple layers of application. Dance and Performance are not mere entertainment; they hold embodied, philosophical intelligence that can guide us toward more interactive and unprejudiced societies.

This is why, within a university context, I focus on the deep practical and philosophical dimensions of Butoh as tools for societal evolution.

I have, however, witnessed a troubling trend in Western approaches to Butoh. Too often, it is reduced to a handful of iconic images or the work of a few well-known artists.

This narrow view overlooks Butoh’s heart—its embrace of uncertainty, difficulty, strangeness and contradiction. For many, Butoh is encountered only briefly in Japan. These experiences may be intense, but they remain far removed from the everyday life that gives the form its deeper, more complex meaning.