Effectiveness of “Thick Imitation” in Dance Education

Study Based on the Process from “Yasuki Kurai” to “An-I” of Zeami

Abstract

In post-war dance education, imitation of existing products tended to be avoided, based on the view that such practice would hamper growth of children's creativity. This is considered to have a certain ground. The reason is that “thin imitation” -mere mimicry of superficial bodily behavior- is presumably no more than mechanical repetition and is unlikely to lead to education of children. However, if imitation is regarded as involving both the mental and physical spheres, and further in the area where changes and movement occur, grasping the thinking that supports the group of actions of the dance, as well as rhythm at that point, and knowing the mental common world of the actions through these actions. Before it becomes possible to take actions based on this thinking, “thick imitation” is considered necessary.
This research aims to mention that “noh” theory of Zeami, a representative theory of traditional Japanese dance, pointed out effectiveness of “thick imitation” in dance education, in the meaning mentioned above, and to position the possibility and meaning of “thick imitation” in modern dance education theory, by reinterpreting the “noh” theory. According to Zeami's theory, it is essential in “noh” education for children to imitate “patterns” and “art” in “noh.” In particular, the stage of practice, which Zeami separated from among the process from “yasuki kurai” to “an-i” in the ability-formation course of a “noh” player, is important. This writer studied this process from the viewpoint of dance education, and found significance in the following four points: 1) imitation of bodywork and sensitivity, 2) imitation of site-sensibility, 3) development toward creativity, 4) obtaining self-education power (=living ability). Produce-ability of these from “thick imitation” (pattern imitation), and the meaning of “thick imitation” in terms of dance education, were clarified. Specific systematization of purposes, content, method, and evaluation of dance education from the viewpoint of “thick imitation, ” based on the above, will be future problems.