Eikoh Hosoe’s long association with the revolutionary performance movement butoh came about through his encounter in 1959 with one of its founders, Tatsumi Hijikata. Hosoe collaborated with Hijikata on several series including Kamaitachi, which is acknowledged as the finest illustration of Hosoe’s hybrid photographic style, combining performance and documentary with a dramatic, virile aesthetic that embodies the founding principles of Hijikata’s ankoku butoh or ‘dance of darkness’.
The dramatic and intense energy that Hijikata generated with his dance not only captured Hosoe’s imagination but also opened up new ways for the young photographer to approach themes such as sexuality, gender and the human body.
Driven by the desire to re-enact his childhood memories when he was evacuated from Tokyo during World War Two, Hosoe had Hijikata perform kamaitachi, the legendary weasel-like demon that haunted the rice paddies in the extremely sparse, rural landscape of the Tohoku region from where they both came. Fusing reality (Hijikata interacting with the landscape and village people) and performance, Hosoe’s ‘subjective documentary’ series opened new ground in Japanese