The purpose of this research is to construct a model of the way in which a person watches the same dance performance twice. There are no two performances that are completely the same because dance is not a static artform and cannot be repeated, unlike some artforms for example cinema. The principle of performance states that a single performance cannot be replicated. Nevertheless, we can still understand the dance pieces each time the performance is staged because there is a stated common knowledge or theme in the performance. In general, there is a misconception among the audience that dance pieces are the same. They fail to see that the principle of performance strongly prevails in all performances, that is, there are no two performances that are the same. We notice the differences in the first and second viewing of the same dance piece. When we watch the dance piece for the second time, the impact or surprise elements are lost. However, it is common to watch the same program by the same dance company several times. Many would expect that there would be a different experience when watching the same dance piece for the second time, as well as a particular way in which this happens. In section one, we start from the viewpoint that the same two performances are the same. Hence, this analysis on why people see the same dance piece for several times. Here, there are two different definition of the term "same dance piece". The first refers to the same piece by the same dancer or dance company. The second refers to the same piece by a different dancer or dance company. In section two, in order to understand the process of the identification of a dance piece, we analyse some elements, for example lighting, sound, staging, dancers, choreography, that are compared with each other when we watch the same piece of dance, and identify this piece with another one that was watched in the past. And we further define three levels in the identification of the dance piece: passive identification, positive identification and partial identification. In the last section, we consider the way in which the dance piece is converted into an accumulation of information when watching it for the first time. Finally, we try to piece together the basic underlying model of the way in which one watches the same dance performance twice.

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Today, we can see the tendency that much part of popular music is oriented towards dance music. The elements of dance-oriented popular music, especially of those rhythms are majorly influenced by House/Techno music which was emerged around the early 1980’s from the underground night club scene in the United State. This article intends to examine the reason how and why House music was invented and about to strongly influence on popular music. In the process of examination, it is mentioned that a unique role of Japanese synthesizer named TB-303 which contributed towards developing the early scene of Acid House Music. The major group to invent and bring up House music was gay Afro-Americans in that time and they should be recognized as subcultural tribe in terms of urban sociology/cultural studies. In this paper, I regard the House music as the practice of bricolage by urban tribe and as TB-303 as tribal musical instrument. Also the trend of embodiment of music is discussed through the process in which popular music is about to change from the thing to listen towards something to feel.

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This study aims to discuss how naked body represented in Eiko & Koma’s video dances. Firstly, how they think of naked [or nude] body was discussed. Secondly, the characteristics of their 5 videodances such as Bone Dream, Lament, Husk, Undertow and Breath in which they performed in naked were analyzed in terms of time, space, body and camera editing/angles. From the dance analysis, the continuity of time and space was cleared and also, it was distinct that naked body was partly cut and became abstraction in relation to camera editing/angles. These characteristics reflected the concept of naked body which they regarded naked body should not be “sexual” but “sensual,”and their view of human and nature underlying the concept. For Eiko & Koma, naked body is a landscape, and it is a vital tool to represent“ the nakedness of nature.”

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In this paper, I examine the relationship between performance and place in which that performance is performed, focusing on Turkish Alevis Semah in urban area. Alevi literally means those who believe in Imam Ali. Alevi community is an unorthodox Islamic sect in Turkey widely dispersed throughout Anatolia. Semah had been secretly performed in cem ritual. But recently Semah has been shown out of ritualistic context, for example at stage events, via multimedia and in private space. This phenomenon emerged when Turkey became a republic. Since 1950s, Turkey became urbanized. Peasants have moved to big city to find work. Alevis lived in Anatolia have also moved to big city such as Istanbul. Alevis have formed Cultural Associations in the cities to which they’ve moved. In such situations, Semah came to view as a part of their culture and has been performed at such associations to preserve Alevis culture. Finally Turks themselves view Semah as [Dance (oyun)]. But Alevis tell that Semah is not dance (oyun) but belief even if they perform semah in any context. To settle what they say with what they do, they set various device to place in which Semah is performed. This situation indicates the importance of relationship between Semah performance and Place in which Semah is performed.

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The purpose of this study is to abstract the characteristics of ballroom dancing, focusing on its “instinctive value.” The ballroom dancing is a dance form referring to couple dancing, known as “shakou dance” in Japanese. In the recent years, the ballroom dance has received attention from the mass media, i.e. TV shows, movies, or magazines. However, the understandings of ballroom dancing are mixed, and lack consensus. Although the related studies reveal the various functions of ballroom dancing in each context, they give attention to just the various external values and no attention has been paid to the instinctive value, that is, the fundamental characteristics of ballroom dancing. To clarify the characteristics of ballroom dancing in concrete term, free description data were collected over the five subclasses, that is, “movements by physical contact through the part/s of the bodies,” “dancing by a man and a woman,” “rhythm,” “music,” and, “others.” Questionnaire respondents included 1) 8 competitive ballroom dancers, who had participated the collegiate ballroom dance team and had experienced as an amateur competitive ballroom dancer for more than five years till now, 2) 10 novices from two collegiate ballroom dance teams who had just begun their dance career, and 3) 13 intermediate who had been participating the collegiate ballroom dance team. Their free descriptions were processed in KJ method and each subclasses offered several factor of the characteristics of ballroom dancing, described below. (1) “movements by physical contact through the part/s of the bodies” – First, the pair become able to carry out the movements that a solo dance can hardly do. Next, excellence of performance and ecstasy of dancing multiply. Furthermore, the amateur competitors find out the ”attractiveness” in their emotional and physical harmony. (2) “dancing by a man and a woman” – At first, the beginners are sensitive to their partner’s masculinity /femininity, then they gradually accept the new, different relationship between a man and a woman, which is not intended for the “sexuality.” It is also presented that the dancers achieve to the better understanding of the role of male and female through the dance creation. (3) “rhythm” – As the factor of the characteristics, “diversity of rhythm” is reported, as well as “emotional arousal” which any other dance form brings to dancers. The result also shows that the dancers experience various kinds of rhythm, and then feel various emotions through their dance. (4) “music” – Four factors are abstracted for this subclass; that is, 1) variability of dance image and performance, 2) emotional and physical influences, 3) pleasure of dancing to music, and 4) anew appreciation of the dance music. It can be presumed that the appreciation of the dance music is peculiar factor of ballroom dancing, for the dance music often brings us cross-cultural musical experiences. (5) “others” – The data suggests that the novices simply enjoy their dancing and gradually become conscious to the appropriate “lead and follow,” and the emotional harmony as well. The data also implied that, as the dancers progress in their career, they recognize the “attractiveness” of ballroom dancing in further detail. Based on the factors abstracted, new questionnaires are prepared for the future research. It is expected that a large number of ballroom dancer be surveyed, statically processed, then the relevance of each factors and “instinctive value” of ballroom dancing be clarified.

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In autucal fact of budo, you have to confront your enemy on condition that the enemy is not always one, it is not set when to fight, and enemy's weapon is indefinite. Although, most of samurai strive for body discipline such as sport training. However, Ittousai Itou discovered a "function of unconscious sphere" and trained himself to apply it. It means he found that the unconscious function works in a relationship is the key to control self, instead of determing one's sense, strength, and muscle as a pillar of action. This fact makes the body able to receive any transformation. To modernize the word, it is the improvisable body. I decided to call it "Pure Body Movement" which is beyond consciousness. This "Pure Body Movement" is what I coach Mr. Wiliam Forsythe and dancers of his company.

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