One of the thing's that really drew me into some of Andrea Miller's work was the distinct presence of Butoh influence. When I was first exposed to Butoh, I found it to be overwhelmingly alarming and though I understood the point message behind it, it was hard for me to grasp why it needed to be portrayed in such a morbid way. Because Butoh left such a powerful negative image in my mind, I was intrigued when I began to pick up on it's presence in the work of Andrea Miller. In "Blush," the six dancers are dressed in all black and their skin is painted white, a common aesthetic in Butoh. In the beginning of the piece dancers are cold and white, and dance separated from each other. As they dance their bodies warm up and begin to sweat, they begin to come into contact with one another, and the white paint begins to rub off and their pink skin is revealed, creating a very visible depiction of the title "Blush." The Butoh influence is present throughout the whole piece in the facial expressions of the dancers.
I found an article that talked a lot about the connection between this piece and the Butoh aesthetic written by Marty Hughley in The America's Intelligence Wire. Hughley wrote: "The Butoh influence shows also in early sections that have the stately tension of ritualized drama. At one point, a pair of women dancers sit on the floor, one leg crossed in front, and rotate their hips toward the floor on their right. But such a simple, physically undemanding move makes a big impact because of its carefully calibrated execution and the power of their steely gaze at the audience." I was unable to find the full work on video, so I have not seen this part of the piece; however the way he describes the movement makes the connection very clear. This article along with my personal observations of the work are very interesting, because when searching information displayed by Andrea Miller herself(in interview by Base Interviews) and from Gallim's repertory information, there is no mention at all of Butoh influence.
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