Choreologia
Online ISSN : 1884-6254
Print ISSN : 0911-4017
ISSN-L : 0911-4017
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Volume 2019, Issue 42
Displaying 1-17 of 17 articles from this issue
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  • Cover
    2019 Volume 2019 Issue 42 Pages 0-
    Published: 2019
    Released on J-STAGE: April 30, 2021
    DOIhttps://doi.org/10.11235/buyougaku.2019.42_0
    JOURNAL OPEN ACCESS
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  • Record and Transmission for Traditional Ainu Dance
    The Case Study of Mukawa Ainu
    Takako IWASAWA, Hibiki MOMOSE, Kei SAKAMOTO
    2019 Volume 2019 Issue 42 Pages 1-11
    Published: 2019
    Released on J-STAGE: April 30, 2021
    DOIhttps://doi.org/10.11235/buyougaku.2019.42_1
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    　The Ainu are an indigenous people who inhabit mostly in Hokkaido, Japan. During the Meiji era, their living conditions changed drastically and their traditional culture declined as a result of the assimilation policy of the Japanese government. However, since the end of 20th century the Ainu traditional culture has been revitalized. Partly because the Japanese government began promoting and protecting Ainu culture, language and tradition by enactment of the New Ainu Law (1997). Besides, designating“ Traditional Ainu dance” as an important intangible folk-cultural property (1984 and 1994) by Japanese government as well as inscribing it as UNESCO ICH (2009) also gave positive impact on such a revitalization movement.
    　This paper investigates the current situation of Traditional Ainu Dance, based on the field research on Mukawa Ainu, one of the Ainu cultural preservation organizations in Hokkaido. Also by the comparative analysis between past and present, we clarify how and why it was changed. Currently the Ainu cultural preservation organizations in Hokkaido are actively working in various cultural events with a rise of public concern. But meanwhile main members of those organizations are aging and thus they are worried about transmission in the future. Therefore we would advocate the result of this comparative study as the new approach of record and transmission for the next generations.
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  • Deborah Hay’s Dancing Thoughts
    Focused on Her Use of Words, “Invite Being Seen.”
    Mayu OTA
    2019 Volume 2019 Issue 42 Pages 12-21
    Published: 2019
    Released on J-STAGE: April 30, 2021
    DOIhttps://doi.org/10.11235/buyougaku.2019.42_12
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    　The aim of this paper is to clarify Deborah Hay’s words, “invite being seen,” and what Hay has assumed from the dancers’ practice and the role of the audience by use of those words. Since 1970, Hay has shifted her choreographic resources from physical to perceptual, and since then she has focused on the inner body. She also notices the whole body as a teacher. Because of this awareness, she elaborates her distinctive choreographic tool, “the practice of performance,” where she uses her language to make dancers bring attention to their bodies, especially their cells, and it eventually becomes a dance piece.
    　In her “practice of performance,” Hay says, “invite being seen.” The words are created by Hay herself and are practiced by the dancers. The dancers practice as they show a willingness to be seen, while giving attention to every cell in their bodies. For the audience, Hay gives them a new role. She also encourages the audience to bring attention to the dancers. In order to show how Hay “invites being seen,” I examine The Man Who Grew Common in Wisdom (1987) to see what the dancers and audience experience. Through the words, both dancers and audience bring attention to the dancers’ inner body and this makes them work together for a dance piece.
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  • Reappraisal of the Experience in “Walk of Insects” in Hijikata Tatsumi’s Method
    Focusing on the Practice of a Pupil Seisaku
    Hikaru OKAMOTO
    2019 Volume 2019 Issue 42 Pages 22-32
    Published: 2019
    Released on J-STAGE: April 30, 2021
    DOIhttps://doi.org/10.11235/buyougaku.2019.42_22
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    　The method of Hijikata Tatsumi’s notational Butoh has been analyzed based on Body Schema proposed by Maurice Merleau-Ponty. Focusing on the spatial theory of Body Schema, the preceding studies indicated that Hijikata’s method “breaks” two things: spatial integration of body and habit of body.
    　This framework has explained dancer’s experience in doing “Walk of Insects” in the method. On the contrary, Butoh dancer Seisaku who had studied under Hijikata as a pupil highlighted a temporal aspect of the same practice. This study analyzed, therefore, Seisaku’s experience to reappraise “Walk of Insects”, referring the temporal theory of Body Schema.
    　The result is as follows. In “Walk of Insects”, dancer must image different tiny insects that crawl on each body parts of them. It is crucial for this practice that the dancer imagine different insects extremely close to simultaneous. For that purpose, they must switch what he/she images in turn, as rapid as possible. This effort, called “Mawashi” (circulation) by Seisaku, leads dancer’s body to the following conditions.
    　First, spatial links between distant body parts are imagined. Second, as “Mawashi” is repeated, physical sensation touched by imaginary insects become a habit.
    　From the spatial and habitual view point, these conditions occur from the opposite intention to “break” body. That is, the experience in “Walk of Insects” is ambiguous : the intentions to “break” and “construct” are experienced at the same time, in terms of space and habit of body.
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  • Improvisational Dance Emerged out of Relationships
    A Study of Dialogical Multicultural Art Project by a Contemporary Dancer
    Asami KOIZUMI
    2019 Volume 2019 Issue 42 Pages 33-44
    Published: 2019
    Released on J-STAGE: April 30, 2021
    DOIhttps://doi.org/10.11235/buyougaku.2019.42_33
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    　This paper examines one of the characters of improvisational dance through studying a multicultural art project. In the project, contemporary dancer Midori Kurata had dialogue with the elderly in the nursery home of old Korean neighborhood in Kyoto to make dance performance with them. When she introduced herself as a dancer, she performed ballet style dance in front of those who asked her to do so during the dialogue. At that point she showed inconsistent behavior: while denying verbally her ballet style dance, she kept showing it to the elderly. We see here emerging her improvisational dance and compare it to some descriptions made by other contemporary dancers to grasp an idea of improvisational dance as constructing relationships that reconfigures each different body who participates in the situation. By filed research and interviews of Kurata, we analyze how dialogue with the elderly influenced her understating of the elderly’s total existence, and how her dance in front of them reflects their dialogue and embodies the feature of improvisational dance. At the end, we verify the improvisational dance was used effectively in her performance to convey who performers are under their unique relationships.
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  • Transformative Abstraction and Radical Empathy
    A Pathographical Approach to Rudolf von Laban
    Takahiro SAITO
    2019 Volume 2019 Issue 42 Pages 45-55
    Published: 2019
    Released on J-STAGE: April 30, 2021
    DOIhttps://doi.org/10.11235/buyougaku.2019.42_45
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    　This study aims to elucidate psychopathological aspects of Rudolf von Laban’s dance works and his writings, referring as well to the influence from Zurich Dada. In the first chapter, I discuss Laban’s suffering from recurrent depressive episodes. Considering his course of illness, I argue that his condition meets the criteria for depression with hyperthymia. This psychopathology invokes ‘radical empathy,’ which one can observe in his diary and his publication The World of the Dancer (1920). In chapter 2, I discuss that his dance drama The Fiddler (1916) reflected his mourning of his deceased spouse and its fairytale narrative might have exerted a therapeutic force to his lamentation. Subsequently, in the following two chapters, I pursue the collaboration between Laban’s students and dadaists in their experiment of dance performances. Through the analysis of theoretical and practical backgrounds, the notion of ‘abstraction’ was summoned to depict the characteristic of their performances, notably those of Sophie Taeuber. Finally, in chapter 5, I introduce the term ‘transformative abstraction’ in order to refigure the impact from Dada performances as well as Laban’s psychopathology on his dance and then propose that his performance in Fool’s Mirror (1926) represented the functional ambivalence of transformative abstraction which was associated with enhanced resilience.
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  • Characteristics of the Corporate Groups Participating in the Awa Dance
    With a Focus on the Realities of Corporate Groups and the Consciousness of Participants
    Mai NAKAMURA
    2019 Volume 2019 Issue 42 Pages 56-63
    Published: 2019
    Released on J-STAGE: April 30, 2021
    DOIhttps://doi.org/10.11235/buyougaku.2019.42_56
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    　The Awa Dance is a festival attracting more than one million tourists in which dancers participate by forming groups called “Ren.” “Ren” is subdivided into several categories such as “famous groups” pursuing high-level dancing, and “corporate groups” consisting of the workers of various companies. The question is whether or not it is worthwhile for the workers to dance in the “corporate groups” by spending so much time and effort. This study takes up corporate groups, examines their realities and then tries to clarify the purpose of workers’ participation by conducting a consciousness survey.
    　As a result, the corporate groups were found to put great importance on participating in the Awa Dance itself and also to be very generous to the participants on different degrees of practice and contribution. By questionnaire investigation, the participants were found to feel a sense of accomplishment and unity and to reconfirm their belongingness, with its effect being extended to the everyday work.
    　In comparison with other cases of corporate groups like those of “Yosakoi” family festivals, the inherent characteristics of the Awa Dance itself seem to be what makes it possible and beneficial for the cooperate groups to participate in the festival.
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  • Bool Review　Katja Centonze, Aesthetics of Impossibility: Murobushi Ko on Hijikata Tatsumi
    Caitlin COKER
    2019 Volume 2019 Issue 42 Pages 64-65
    Published: 2019
    Released on J-STAGE: April 30, 2021
    DOIhttps://doi.org/10.11235/buyougaku.2019.42_64
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  • Book Review　Bruce Baird and Rosemary Candelario (eds.), The Routledge Companion to Butoh Performance
    Daisuke TOMITA
    2019 Volume 2019 Issue 42 Pages 66-67
    Published: 2019
    Released on J-STAGE: April 30, 2021
    DOIhttps://doi.org/10.11235/buyougaku.2019.42_66
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  • Book Review　Nanako Nakajima and Kikuko Toyama (eds.), Aging + Dancing
    Yayoi IZAKI
    2019 Volume 2019 Issue 42 Pages 68-69
    Published: 2019
    Released on J-STAGE: April 30, 2021
    DOIhttps://doi.org/10.11235/buyougaku.2019.42_68
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  • Book Review　Lee Hyun Jun, “The East” Dancing Choi Seung-hee
    Katsuhiko SAKAGUCHI
    2019 Volume 2019 Issue 42 Pages 70-71
    Published: 2019
    Released on J-STAGE: April 30, 2021
    DOIhttps://doi.org/10.11235/buyougaku.2019.42_70
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  • Junko Iguchi, Music and Ballet of Exiles in Shanghai
    Tatsuko MORI
    2019 Volume 2019 Issue 42 Pages 72-73
    Published: 2019
    Released on J-STAGE: April 30, 2021
    DOIhttps://doi.org/10.11235/buyougaku.2019.42_72
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  • Book Review　Caitlin Coker, A Physical Experience of Ankoku Butoh. The Anthropology of Affect and Creation
    MUTO MUTO
    2019 Volume 2019 Issue 42 Pages 74-75
    Published: 2019
    Released on J-STAGE: April 30, 2021
    DOIhttps://doi.org/10.11235/buyougaku.2019.42_74
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  • Kenichi Tsukada, Eisa Monogatari (Migration and Performing Arts: The Transplantations of Eisa in the Yaeyama Islands)
    Yoshiaki TAKEMURA
    2019 Volume 2019 Issue 42 Pages 76-77
    Published: 2019
    Released on J-STAGE: May 01, 2021
    DOIhttps://doi.org/10.11235/buyougaku.2019.42_76
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  • Book Review
    2019 Volume 2019 Issue 42 Pages 78-80
    Published: 2019
    Released on J-STAGE: May 01, 2021
    DOIhttps://doi.org/10.11235/buyougaku.2019.42_78
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  • Report of the 24th Regular Meeting of the Japanese Society for Dance Research
    2019 Volume 2019 Issue 42 Pages 81-82
    Published: 2019
    Released on J-STAGE: May 01, 2021
    DOIhttps://doi.org/10.11235/buyougaku.2019.42_81
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  • Symposium: Curricula in Dance Studies Majors and Dance Education Majors in Japan
    Now and the Future
    Maaya FUKUMOTO, Yumi TERAYAMA, Chika OKUNO, Yoshinobu MATSUZAWA, Kyung ...
    2019 Volume 2019 Issue 42 Pages 83-101
    Published: 2019
    Released on J-STAGE: May 01, 2021
    DOIhttps://doi.org/10.11235/buyougaku.2019.42_83
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