"Omorososhi" includes a total of 1554 pieces in 22 volumes which have been handed down from Amami to Okinawa, collected and compiled by Ryukyu Kingdom. In the Volume 9 are put down the notes of choreography heard and written, which are called "Mai-no-Te-Chu" by researchers. "Mai-no-te-Chu" is the oldest ritual dance notation compiled by Ryukyu Kingdom. Old ritual dance styles can be presumed at a certain degree based on the notation, and is positioned as primary materials in the Ryukyu dance studies.

Accordingly, this paper revealed the characteristics of "Mai-no-te-Chu" as a dance notation and the choreography in the viewpoint of dance studies. A literary viewpoint is also introduced to research and examine the relation between dance and lyrics. In addition, "Mai-no-te-Chu," lyrics, translation, and the theme of lyrics are added as "Appendix." I expect that this paper will contribute to dance studies and the growth of performance.

抄録全体を表示

Bulgaria and Russia (former USSR), global leaders in rhythmic gymnastics, unveiled highly artistic routines in the 1980s by adding their own national and cultural identities to the composition of their routines. As the bipolar styles in routine composition, with Bulgaria shedding light on folk dance and modern dance and the USSR incorporating classical ballet, significantly contributed to the improvement of artistry in rhythmic gymnastics thereafter, it is of apparent importance to study the composition employed by these countries in the 1980s.

In 1989 the Bulgarian team won the 14th Rhythmic Gymnastics World Championships with the 12-Clubs Routine that featured “folk dance of the village of Radmir” located in the Sofia Region. To uncover the methodology by which folk dance elements helped deepen the artistry of the aforementioned routine, this article incorporates analysis of the Bulgarian National Television footage from 1989, study of documents on folk dance and rhythmic gymnastics, and interviews with choreographers and researchers of folk dance and rhythmic gymnastics.

It was unveiled by analysis that the aforementioned routine represents the history of Bulgaria, from the Ottoman Empire’s rule to the liberation after 482 years, as well as the ethnic identity of its people, in an integrated flow of artistry, proving that the deepened artistry in composition was attained, while still bearing elements of rhythmic gymnastics, owing to elements of folk dance comprising the main axis.

抄録全体を表示