This paper examines the state of research on dance in Ethiopia, Kenya, and Tanzania. Dance is an essential part of daily life for people in Africa. African dance is one of the original forms of dance, and together with music, has often been used in place of written forms of language as a means of communication. The rhythms and movements of African dance have had a major influence on developments in dance and music worldwide. The fundamental nature of African dance is what has led me to focus my research in this area, in order to trace the roots of modern forms of Western dance. Ethiopia : Scientific research into Ethiopian dance began in 1964 when two Hungarian folklorists sent by the Hungarian Government traveled throughout Ethiopia collecting data on folk dances and folk music. Gyorgy Martin and Balint Sarosi studied different Ethiopian dances by comparing them with other dances. Tibor Vadasy continued their work by carrying out comparative studies on the dances of different tribes and peoples in regions such as Gojjam, Gondar, and Gurage. Furthermore, one of the primary reasons for building the National Theatre, formally known as the Haile Selassie I Theatre and completed in 1955 based on 18^<th> century French theatre designs, was the preservation and promotion of Ethiopian folk dance and folk music. Kenya : T.O. Ranger's book, "Dance and Society in Eastern Africa 1890-1970 : The Beni Ngoma", is an excellent example of the use of aspects of dance history to grasp the reality of the colonial experiences of a particular region. Ranger covers nearly 100 years of East African history, using data concerning the origin, development, and diffusion of popular dance culture in urban and rural Kenya, Tanzania, Zambia, and Rhodesia (now Zimbabwe). Another book, "Folk Music of Kenya" by George Senoga-Zake, has introduced Kenyan music and dance to a wide audience. The national dance troupe, Bomas of Kenya, was originally established by the government in 1971 for the cultural entertainment of tourists visiting Kenya. Through Bomas, different aspects of Kenyan culture are displayed, including lifestyles, crafts, music, and dancing. The Bomas Harambee Dancers are the only resident dance company in Kenya and perform daily in a spectacular circular theatre. Tanzania : According to Herbert F. Makoye (1998 : 95-97), serious research on dance in Tanzania started in 1964 following the establishment of the National Dance Troupe under the auspices of the Ministry of National Culture and Youth. The National Dance Troupe was disbanded in 1980, after which the Bagamoyo College of Arts was established in 1981, with dance as a central focus of the college's training program. Another institution to have embarked on dance research is the University of Dar Es Salaam. The first comprehensive research on Tanzanian dance was a 1972 M.A. thesis by Godwin Zilaoneka Kaduma entitled, "The Description of Five Tanzanian Dances". In Japan, from the 1970s onwards, researchers of music and dance, such as Kenichi Tsukada and Yasuko Endo, began to focus on the meaning of dance and music in Africa.

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This paper examines : (1) the profile of Okada Torajiro (the "Founder") (2) the first appearance and development of the Okada Method, (3) the evolution and spread of the Okada Method and (4) the relationship between breathing and sitting and the further evolution of the technique. During the Meiji era, the three major schools of exercise were : (1) the Okada breathing/sitting method (the "Okada Method"), (2) the Futaki breathing method and 3) the Fujita breath-mind harmonizing method. Such exercise methods were better suited to the Japanese lifestyle, which, unlike Western exercises focused more upon breathing and meditation, than physical stamina and strength. Unfortunately, due to the fact that these exercises were taught entirely outside of the education system, no record of formal research exists. In fact, the Founder never wrote a manual on the method that bears his name. As a result, some aspects of the Okada Method cannot be specifically attributed to the Founder, and consequently one must examine the method using related resources. The Okada Method, constructed from related writings is divided into breathing and sitting methods. The sitting method is the primary exercise, which is then combined with the breathing method, completing the exercise. The breathing method, also called "reverse breathing" or "chest-type breathing" involves filling the chest on inhalation and pushing out the abdomen on exhalation, rather than the more common contraction of the abdomen, hence the term "reverse breathing". A further complication of the fact that no definitive work is attributable to the author of the Okada Method is that variations of the method exist. For example, hand and leg positioning in the sitting method vary according to the author of the text. The differences, however, subtle and are cause for little concern, as the essence of the breathing and sitting method are uniform.

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本研究では, 100m疾走中の速度変化を表す2つの指標を提案し, その有用性を明らかにすることを目的とした.1つの指標は, Furusawa et al.の理論式からの偏倚の程度を距離で示す累積速度偏差である.もう1つの指標である累積速度偏差率は, 最高速度発現後からゴールまでの速度低下の総量を同区間の理論値に対する割合として定義した.1)累積速度偏差の有用性を判断するために, 5m区間ごとの値を算出し, 速度変化の時系列に沿った分析を行った.その結果, スタートから5m地点までの累積速度偏差は, 反応時間を含めたスタート技術に関与すると考えられる高値を示した.次の5-10m区間では, 累積速度偏差は全区間中で最も低値を示し, 30m地点に至るまで増加傾向を示した.しかし, その後の30-35m区間では, 累積速度偏差は前区間と同値を示し, 次の35-40m区間では, 前区間より低値を示した.また, 最高速度発現後(40m以降)の累積速度偏差は, 80m地点に至るまでの上に凸な曲線的増加と80-100m区間の直線的増加を示した.これらのことから, 累積速度偏差は, 100m走中の速度変化の過程を客観的に区分することのできる指標であることが示された.2)累積速度偏差率の有用性を判断するために, 目的変数として100m走タイム, 説明変数として最高速度, 最高速度の到達時間, 速度逓減率, 累積速度偏差率を用いた重回帰分析を行った.その結果, 多重共線性が無く, 有意な予測値を示した説明変数は, 「最高速度と累積速度偏差率」の組み合わせだけであった.この結果から, 累積速度偏差率は速度逓減率に比べて, 速度低下を説明できるより有効な指標であることが示唆された.

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To prevent biological deconditioning during missions in Spacelab, astronauts are required to exercise and typically use a bicycle ergometer, treadmill, or other equipment for resistance exercise. However, some exercise equipment, a treadmill in particular, may cause serious vibratory disturbance in the spacecraft. In the present study, we attempted to estimate the energy expenditure of a freely performed whole-body exercise in the atmosphere of a spacecraft, that was demonstrated by a Japanese astronaut in 1992. The exercise consisted of a repeated gymnastic-like motion with whole-body flexion and extension. The mechanical work performed internally against the inertial load by the body segments during exercise was calculated, and the energy cost was estimated after assuming the efficiency to be 25%. Our results showed that the energy cost was 0.11 kcal/kg of body mass/min, which equivalent to the energy expended during a fast walk. We concluded that this exercise could be recommended as one of the exercise programs because of its safety, since it does not involve shifting the COM of the body and requires no equipment, thus negating the problem of vibration.

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