BOOKS
  • 『老いと踊り』(Oi to Odori, Aging plus Dancing, in Japanese), edited by Nanako Nakajima and Kikuko Toyama, Tokyo: Keiso Shobo Publisher, 2019.
  • The Aging Body in Dance: a cross-cultural perspective (English), edited by Nanako Nakajima and Gabriele Brandstetter, London and New York: Routledge, 2017.
ACADEMIC PAPERS
  • “The Outside of Butoh is the Inside of the Body: Ko Murobushi and the Process of Self-mummification,” The TDR/The Drama Review, Vol. 63, No. 2 (T242) 2019: 74-93.
  • “This is (Not) the Aging Body in Dance: Tino Sehgal’s Ann Lee and the Robotization of the Aging Body in Japan,” Performance Research, Vol. 23, No. 7: ‘On Ageing (& Beyond)’ (May 2019): 55-65.
  • “Nanako Nakajima in Conversation with Yvonne Rainer,” Performance Research, Vol. 23, No. 7: ‘On Ageing (& Beyond)’ (May 2019): 13-23.
  • “Disabling Ability in Dance: Intercultural Dramaturgies of the Thikwa plus Junkan Project“, Disability Arts and Culture: Methods and Approaches. Edited by Petra Kuppers, Bristol and Chicago: Intellect Books，pp. 257-276, 2019.
  • “Throwing the Aging Body into the Fight: Raimund Hoghe’s An Evening with Judy in Kyoto,” The Movements of Interweaving,
  • edited by Gabriele Brandstetter, Gerko Egert and Holger Hartung, London: Routledge, 2018, pp. 109-129. 
  • “Kazuo Ohno and Anohni: From Without and Within,” (English/German), in Anohni—My Truth, James Elaine, Peter Hujar, Kazuo Ohno.Edited by Friedrich Meschede, Bielefeld: Walther König, 2017, pp. 401-422. 
  • “The Archiving Body in Dance: The Trajectory of the Dance Archive Box Project,” (English), Moving (Across)Borders: Performing Translation, Intervention, Participation, edited by Gabriele Brandstetter and Holger Hartung, Bielefeld: transcript Verlag, 2017, pp.191-218. 
  • 「老いと踊りとスピリチュアリティ」（Oi to Odori to Spirituality, in Japanese), 『スピリチュアリティと芸術・芸能』(Spirituality and Arts/Geino) (Series of Spirituality Studies), edited by Toji Kamata, Tokyo: Bing Net Press, 2016. pp. 186-206.
  • “The Aging Robot in Dance: Some Questions addressed by the Research of the Aging Body in Dance,” (Japanese), Ars Vivendi, vol. 9, 2016.
  • “Diversified Body Dancing and Watching,” (Japanese), Who Dance? Furitsuke no Actuality, Tsubouchi Memorial Theatre Museum of Waseda University, Catalogue raisonné, 2015, pp. 64-75.
  • “Dance Dramaturgy as a Process of Learning: koosil-ja’s mech[a]OUTPUT,” (English), Dance Dramaturgy: Modes of Agency, Awareness and Engagement, London: Palgrave, 2015, pp. 163-179.
  • “a-kaibu ka dekinai odori wo megutte” (Japanese), Musica Mundana (2015, in Liberal Arts, Vol. 6, Saitama University Studies), pp. 31-44.
  • “Dance Dramaturgy on the Topic of Aging – Focusing on Raimund Hoghe’s ‘An Evening with Judy'” (Japanese), Butai Geijutsu(Performing Arts), Vol. 19. 2015: 166-173.
  • “Disabling ability in dance: Intercultural dramaturgies of the Thikwa plus Project” (English), Choreographic Practices 6 (1): 85-105. 2015. 
  • “Aging Body in Dance: The Cultural Politics of Age in Euro-American and Japanese Dance” (English), TanzZeit – LebensZeit, Claudia Behrens, Christiana Rosenberg (Hg.), Jahrbuch Tanzforschung Band 24, Leipzig: Henschel Verlag 2014, pp. 167-177. 
  • “De-aging Dancerism? The aging body in contemporary and community dance” (English), Performance Research, 16 (3): 100-104. Sep 2011.
  • “Two Hours and One Hundred and Three Years of Dancing: Xavier Le Roy’s Product of Other Circumstances and Kazuo Ohno’s Butoh” (English), Fjord Review, Australia, Summer 2011(No. 3, Vol. 1): pp. 14-19.
  • “„Jérôme Bel and Myself“ Interkulturelle Aspekte des zeitgenössischen Tanzes in Europa und Asien,” (German), Veröffentlichungen des Japanisch-Deutschen Zentrums Berlin, JAPANISCH-DEUTSCHES ZENTRUM BERLIN in Zusammenarbeit mit dem DEUTSCHER AKADEMISCHER AUSTAUSCHDIENST, Germany, 2009: 157-167.
  • “Jérôme Bel to Watashi” :『Pichet Klunchun and Myself 』ni okeru Interculturalism, (Japanes), Theatre Arts, 39, Tokyo, Japan, 2009, pp. 97-106.
  • “Dance Dramaturg in NY Downtown Dance,” (Japanese), Theatre Arts, 32, Tokyo, Japan, 2007, pp.77-85.
  • “Ohno Kazuo’s Hands: Between the Visible and the Invisible,” (English), A MAGAZINE, #3, Antwerp, Belgium, 2005: 64-71.
  • “The Two Axes of the Performing Body, Vertical and Horizontal,” (English), Journal of Aesthetics andArt History, No. 16, 2004.
  • “The Dancing Body in Gaps—Miyakokenbutsuzaemon by Hanayagi Toshinami,” (Japanese) Report onthe Aesthetic Congress in Hiroshima University 2002, 2004.
Essays, Reviews and Short Articles
  • “Poetics of Dance,” (Japanese), ACT vol. 26, 2020, Journal of Kansai Brunch, International Association of Theatre Critics, Japan. Online.
  • Performance Review on ARICA Presents “Rockaby Revisited,” (Japanese), Newsletter REPRE of Association for the Studies of Culture and Representation, vol. 37. 2019. Online.
  • Performance Review on 『だんだんたんぼに夜明かしカエル』(“Dandan Tanbo ni Yoakashi Kaeru” in Japanese) choreographed by Shin Sakuma, Final Report of the NPO Tanpopo no ie, 2019: 26.
  • “The Past and Future of Festival Cultures,” (Japanese), Newsletter, vol. 15, Japanese Society for Dance Research: 5-7. Online.
  • Report on Panel Discussion “About the Wooster Group,” (Japanese), FEATURES KYOTO EXPERIMENT 2018. Online.
  • “Special Feature: Theatricality of the Exhibition, Discussion: Performance in Crossing: Between Museum and Theater,” in 『表象』(Hyosho: journal of the association for studies of culture and representation). (Japanese) vol. 12. 2018: 18-45.
  • 「RE/PLAY Dance Edit についての覚書」(“Review for RE/PLAY Dance Edit,” in Japanese), Kyoto Art Center, 2018. Online.
  • 「レヴュー｜マルチプル化された身体のダンス」(Festival Review “Multiplied Dancing Body,” in Japanese), on the 9th Yebisu International Festival for Art and Alternative Visions at the Tokyo Photographic Museum. Online.
  • “Entering the World of Butoh,” (English/German), Article on the Website and Booklet for the dance festival in Berlin, Magazin im August by Tanz im August, 2017. Online.
  • 「ダンスアーカイブをパフォーマンスする」(Performing Dance Archives, Japanese/English) Archiving Dance, Final Report of the Saison Foundation: 2015, 62-65. Online.
  • “Pina Bausch Archive Fever,” (Japanese), Joshi Taiiku, 57 (4-5) 2015: 72-73.
  • Article on “She She Pop’s “THE RITE OF SPRING as performed by She She Pop and their mothers,””  (Japanese/English), Kyoto Experiment Official Booklet 2014, pp. 30-31.
  • Butoh in a Global Performance Context,” A dissertation review of “An Empty Room: Butoh Performance and the Social Body in Crisis, “by Michael Sakamoto (Submitted to University of California, Los Angeles. 2012. Online.
  • “From Dance to Live Arts: Ruhr Triennial 2012,” (Japanese), Theatre Arts, 53, Tokyo, Japan, 2012, pp. 97-106.
  • Dramaturg’s note, “Process of Theater Thikwa plus Junkan Project,” (Japanese), Kyoto Experiment 2012.
  • “Report on the symposium in Berlin, Aging Body in Dance,” (Japanese), dance +, 2012. Online.
  • “Two Hours and One Hundred and Three Years of Dancing: Xavier Le Roy’s Product of Other Circumstances and Kazuo Ohno’s Butoh” (English), Fjord Review, Australia, Summer 2011(No. 3, Vol. 1): 14-19.  
  • 「もう一人のダンサー　ベルリン4月のダンス・シーンから」(“Mouhitori no Dancer: Report on Dance from Berlin,” in Japanese), dance +, Mai 2011. Online.
  • “Report of Tanz im August,” (Japanese), Theater Arts, 43, Tokyo, Japan, 2010, pp. 28-35.
  • “Aging Body in Dance, ” American Orifice, Catalogue raisonné, Sep 2010, pp. 32-33.
  • “Book Review” (Japanese) in Choreologia, Japanese Society for Dance Research, No.32, 2009. S. 121-122. on Odenthal, Johannes: TanzKörper Politik: Texte zur zeitgenössischen Tanzgeschichte, Berlin: Theater der Zeit 2005; Brandstetter, Gabriele: »Verflechtungen von Tanzkulturen. Pichet Klunchun und Jérôme Bel«, in: Weiler, Christel u.a. (Hg.): Strahlkräfte: Festschrift für Erika Fischer-Lichte, Berlin: Theater der Zeit 2008, S.16-27; Odenthal, Johannes: »Globalisierung, Migration und die Interkulturalität von Performance«, in: Klein, Gabriele u.a. (Hg.): Performance: Positionen zur zeitgenössischen szenischen Kunst, Bielefeld: Transcript 2005, S.25-31; Odenthal, Johannes (Hg.): The Third Body: Das Haus der Kulturen der Welt und die Performing Arts, Berlin: Theater der Zeit 2004.