Ankoku Buto: The Premodern and Postmodern Influences on the - download pdf or read online

By Susan Blakeley Klein

ISBN-10: 093965749X

ISBN-13: 9780939657490

A quick advent to the heritage, philosophy, and strategies of the japanese avant-garde dance stream, Ankoku Butô. Evoking pictures of gruesome good looks, revelling within the seamy underside of human habit, yetô dance teams resembling Sankai Juku and Dai Rakuda-kan have played to large serious and renowned acclaim, making yetô the most influential new forces within the dance international this present day. The monograph lines the improvement of yetô from its start within the bleak post-war panorama of 1950's Japan, after which addresses the query of yetô as a post-modern phenomenon, earlier than happening to envision the impact of conventional jap functionality on yetô suggestions. The final bankruptcy analyzes a particular dance (Niwa - The backyard) by means of Muteki-sha, to teach how those innovations are used concretely. contains translations of 4 essays on yetô by means of modern eastern dance critics.

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Additional info for Ankoku Buto: The Premodern and Postmodern Influences on the Dance of Utter Darkness

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10 In "Nanakusa," the opening scene of Niwa, we seem to be in the presence of exactly the same kind ofyoung woman that opens a No play; a woman making an offering to the gods. Or perhaps, going back to the original basis for No, she is a shamanistic miko caught up in the ritual trance that is her art. In addition, the bundle of dried flowers and grasses strongly suggest that we are witnessing sorne kind of harvest ritual. This use of harvestjagricultural metaphors (repeated later on in the portrayal of a farm woman) corresponds with Buto's attempt to go back to the spiritual roots of dancejdrama in Japan, since, as Komparu Kunio points out: sacred agricultural festivals formed the basis for nearly aIl the entertainment arts in J apan, and in them we see clearly a tendency toward cycles and assimilation with nature that might even be caIled the foundation of J apanese culture, created by a farming people.

Why is it that this white makeup has become su ch a characteristic feature of Buta? According to Ohno Kazuo, in the early years the dancers relied on white makeup to cover up the fact that their technique was still undeveloped. lThis translation is from Ichikawa Miyabi, " 'Buto' Josetsu," in Buta: Nikutai no Suriarisutotachi (Buto: Surrealists of the Flesh), ed. Hanaga Mitsutoshi (Tokyo: Gendai Shokan, 1983), unpaginated. 69 70 71 As far as this goes, if it is true then Buto dancers are left without a leg to stand on.

There's something else troubling me: that the But6 style of groups su ch as Hoppo Buto-ha and Suzuran-tO doesn't seem to fit very weIl into this standard cultural history of Western style dance. For example, those forms of dance which are similar to athletics, seeking to develop the health and beauty of the body as a microcosm of the universe, are permeated with a will that ai ms for the symmetry and unification of the body. But{l, on the other hand, shows us a body in which, from the start, balance has been destroyed, twisted, warped, and crushed.

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Ankoku Buto: The Premodern and Postmodern Influences on the Dance of Utter Darkness by Susan Blakeley Klein


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