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Nihon Buyo: Classical dance of mode...

Yamazaki, Kazuko.

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Nihon Buyo: Classical dance of modern Japan.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Nihon Buyo: Classical dance of modern Japan./
作者:	Yamazaki, Kazuko.
面頁冊數:	256 p.
附註:	Co-Chairs: Anya Peterson Royce; Carol J. Greenhouse.
Contained By:	Dissertation Abstracts International62-02A.
標題:	Anthropology, Cultural. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3005495
ISBN:	049315129X

Nihon Buyo: Classical dance of modern Japan.
Yamazaki, Kazuko.

Nihon Buyo: Classical dance of modern Japan. - 256 p.

Co-Chairs: Anya Peterson Royce; Carol J. Greenhouse.

Thesis (Ph.D.)--Indiana University, 2001.

This dissertation examines, from ethnographic and historical perspectives, the pedagogical, aesthetic, and social significance of Nihon Buyo and its position in contemporary Japanese society. Nihon Buyo is a theatrical dance form performed in a classical style, commonly in kimono costume with the accompaniment of traditional samisen music. I begin with an ethnographic account of a private dance studio where students, predominantly middle-class Japanese women, take lessons. I continue with description of dancers, choreographers, and stage artists working toward the theatrical production of a new dance piece. The second half of the dissertation presents the history of Nihon Buyo and how it has become established as a genre.

ISBN: 049315129XSubjects--Topical Terms:

735016
Anthropology, Cultural.

Nihon Buyo: Classical dance of modern Japan.
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500 $a Co-Chairs: Anya Peterson Royce; Carol J. Greenhouse.
500 $a Source: Dissertation Abstracts International, Volume: 62-02, Section: A, page: 0658.
502 $a Thesis (Ph.D.)--Indiana University, 2001.
520 $a This dissertation examines, from ethnographic and historical perspectives, the pedagogical, aesthetic, and social significance of Nihon Buyo and its position in contemporary Japanese society. Nihon Buyo is a theatrical dance form performed in a classical style, commonly in kimono costume with the accompaniment of traditional samisen music. I begin with an ethnographic account of a private dance studio where students, predominantly middle-class Japanese women, take lessons. I continue with description of dancers, choreographers, and stage artists working toward the theatrical production of a new dance piece. The second half of the dissertation presents the history of Nihon Buyo and how it has become established as a genre.
520 $a I conducted ethnographic research between 1996 and 1999 in Tokyo, where I observed lessons in studios and participated in a production as a member of the backstage crew. The bulk of my archival research was conducted at the Tsubouchi Memorial Theatre Museum of Waseda University, Tokyo.
520 $a This study contributes to cultural anthropology, Japanese studies, and dance research in the following ways. First, it provides a firsthand description of Nihon Buyo practice and aesthetics based on my fieldwork and my experiences as a trained Nihon Buyo dancer and dance scholar. This is important, since Nihon Buyo has seldom been the subject of scholarly work. Second, Nihon Buyo dancers' training, pedagogical innovations, and the exploration of new bodily movement have important implications for understanding the nature of embodied knowledge. Third, the position of Nihon Buyo in Japan indicates the complexity of ideas about what is traditional and what is modern. For the majority of Japanese, Nihon Buyo is arcane, archaic, and has nothing to do with their contemporary life style. However, the history of Nihon Buyo reveals that, contrary to the common perception of Nihon Buyo as a traditional performing art, it is a creation of the twentieth century. Overall, the main theme of the dissertation concerns the question of how Nihon Buyo dancers have been struggling to establish their art form as a traditional one and, at the same time, as an innovative one that has relevance to contemporary society.
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