Download Ankoku Buto: The Premodern and Postmodern Influences on the by Susan Blakeley Klein PDF

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By Susan Blakeley Klein

A short creation to the heritage, philosophy, and strategies of the japanese avant-garde dance circulation, Ankoku Butô. Evoking photos of ugly attractiveness, revelling within the seamy underside of human habit, yetô dance teams corresponding to Sankai Juku and Dai Rakuda-kan have played to broad severe and well known acclaim, making yetô probably the most influential new forces within the dance international this present day. The monograph lines the advance 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, prior to happening to ascertain the effect of conventional jap functionality on yetô recommendations. The final bankruptcy analyzes a particular dance (Niwa - The backyard) by means of Muteki-sha, to teach how those strategies are used concretely. comprises translations of 4 essays on yetô via modern jap dance critics.

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

Sample text

This aggression directed towards the body was, naturally enough, unacceptable by commonly shared moral standards, and for long years But6 was treated as an underground performance art. The use of white makeup was probably encouraged by two of Buto's major components: the repression of seething desire and the will to metamorphosis which would transform the body into something grotesque. ". He was constantly worrying about the meaning of modern dance (buy6); even as he rejected it, he must have feIt his own ego surfacing.

Recently, at the Cultural Agency's Traveling Arts Festival (November 29, 1980, Otaru City Hall, Hokkaido), there was a performance of No and Ky6gen. Even in this performance of Aoi no Ue, T6kio Otsubo of the H6sho schooI, who pIayed the living spirit of Rokuja (the Lady of the 6th Ward), paused at the hashigakari 6 to say, "There is no human form here, not even a persan ta whom l may address this question" and then performed the shiori kata. The second explanation is the familiar one that the origin of dance is in mimi cry.

L"Wigman, Language of Dance, p. 42. In Niwa we are instead presented with a very different face, a mask face colored grey, emptied of expression. It makes an interesting comparison to the calm, neutral type ofN6 mask, called ko-omote (the young woman mask), which has little expression of its own, but instead invites us to project our own feelings onto it. The vacant, haggard look of the mask in Niwa reflects the heavy oppression of the farming woman's life, and reveals by its very inexpressiveness the ways in which society acts on individuals to cut off and control their access to their natural instincts, to their natural sources of emotional expression.

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