Non-Western Dance

Front 1

Japan

Back 1

•Japan is an island bordered by the sea of Japan and the Pacific Ocean.
•Population of over 126 million is mainly urban based throughout the land.

Front 2

Dance in Japan

Back 2

•Movement is pure
•Theme/store
•Musical accompaniment
•Training/practice, performance
•Decorative elements, costumes, make-up
•Stillness in Japanese dances are just as important as the movements.

Front 3

Forms/Stles/Schools

Back 3

•Large and small scale geography
oConsider the size and type of land mass
oConsider specific historic events that influence and serve as motivation for the expression of art.
•Stage construction (style, shape, function)
•Site specific Work (consider contextual and out of context as adjectives.)

Front 4

Shinto

Back 4

Shinto is dated to the 1st millennium B.C.

Shinto in centered more on the sensitivity to the spiritual forces that pervade nature rather than on founders, scriptures, philosophy, and moral code.

Front 5

deity

Back 5

• Focus for the class will be on deity, the sun goddess.

Front 6

Buddhism

Back 6

Buddhism is dated to the 6th century A.D.

Buddha was born on the border of Napal and India as Siddhartha Gotama. He became Buddha at age thirty five. The title of Buddha signifies heightened mental cultivation, wisdom, good, conduct. This belief includes: do no evil, cultivate goodness, purify one’s mind.

Front 7

Dukkha

Back 7

Fair Noble Truths

Life is subject to Dukkha.

Dukkha is caused by greed, anger deluded mind

Overcome Dukkha using Nirvana (state of mind)

Follow the 8 – fold path to Karma.

Front 8

Temple Architecture

Back 8

In India, the sculptures of the dancing body adorn temples.

In Japan, the importance of the dance is represented in a different manner.

Front 9

“Uzume’s Dance on the Wooden Tub”

Back 9

The legend that serves as the historical common thread in Japanese dance is “Uzume’s Dance on the Wooden Tub”
Ame No Uzume danced outside of a cave on a wooden tub.
The sun goddess Amaterasu had taken refuge in the cave. Uzume hoped to dance with such depth and integrity as to draw Amaterasu out so that she would shed light once again on a world plagued by darkness.
Uzume was successful and the qualities of the dance remained as a guiding archetype for the dances to follow.
This historic dance gives weight to the signifigance of the small area in which the dance took place.
The small area is also evidence in the traditional use of the tatami mat… still used for the surface of some liturgical dances.

Front 10

Tatami mat

Back 10

a small rectangle of woven grassed used for dance or sitting.

Front 11

The significance of the overturned tub

Back 11

The small area is the key condition that led to the “focusing of effects” which is central to Japanese dance.
The significance of the overturned tub is also one of sound resonance.
The hollow wooden stages of several Japanese dance forms fulfill the need of a reverbant sound quality.

…links to archetype

Front 12

Okisa

Back 12

“the force required by the reduction of the dancer’s efforts through concentration and restriction.”

Front 13

Ma

Back 13

spiritual and temporal links between one movement and the next that provide continuous flow.

Front 14

The forms to be studied:

Back 14

Kagura
Eunen
Noh
Kabuki
Bugaku )as part of the whole called Gaguku)
Butoh

Front 15

Kagura

Back 15

Early worship, in dance, of the Shinto religion in Japan. This practice has been described as the use of movement with a fan and accompanied by a musical ensemble to invite gods.
Miko – priestesses of the Shinto faith who practices the art of stylized movement to show ???
This form predates even the earliest Chinese influence on Japan.

Front 16

Miko

Back 16

priestesses of the Shinto faith who practices the art of stylized movement

Front 17

Eunen

Back 17

•Eunen are the dances that were performed by Buddhist monks at festivals.
•Both of the Buddhist forms along with the Shinto form, Kagura, had an impact on the evolution of Noh.

Front 18

Noh

Back 18

•Noh dates to the 14th century
•It is a form that features masks as a way to determine character.
•It depends on unreal and floating qualities for trademarks.
•Part of the unreal quality deals with the themes of supernatural beings.
•Part of the unreal quality deals with the abstraction of movement.
•A significant journey may be symbolized with one intense step.

Front 19

Noh stage (course packet diagram)

Back 19

•Originally, the stage was an outside structure.
•The back wall of the stage is called the pine or mirror board or Kagami-ita and is adorned with the image of the pine tree Matsubame.
•Seating for this form is set in 3 different angles (see course packet diagram).

Front 20

Noh Characters

Back 20

•Mad Character
•Beautiful Woman
•Warrior
•The tradition of the mid level gliding movement comes from the mode of walking for early royal court ladies and is considered the height of elegance.
•The tradition of the gliding also served the early themes of ghostly beings. These ghosts were thought of as legless so a steady floating action was desired.

Front 21

Shi-te

Noh performance groupings

Back 21

primary or leading characters in the Noh performance. They are central to the story and wear masks.

Front 22

Waki

Noh performance groupings

Back 22

secondary or supporting “foils” of the leading characters and do not wear masks.

Front 23

Kyogen

Noh performance groupings

Back 23

comic interlude players

Front 24

Yugen

Back 24

•Term that can apply to all art.
•Yugen – coudy impenetrable…obscure, unknown, mysterious…
•Some say it is beyond rationalization.
•It has also been called the hidden beauty within art…”the touch of cosmic truth” and “the sad realization of human fate.” –Zeami

Front 25

Hana

Back 25

• Hana is the “flower” or the effect of the successful performance
•The Noh performance strives to reach a level of communication with audience that goes beyond outwardly evident action.
•The “temporary flower” is considered to be a fleeting delite that the audience may …………?

Front 26

Kokoro

Back 26

•Kokoro means the “heart” or mind of the performer’s experience…
•A multilevel concept Kokoro is connected to the Buddhist ideas about the nature of all things.
•Kokoro refers to both the foundation of Noh as an art and to the energy for the performer’s impact on the audience.
•Self-conscious
•Unconscious/spontaneous
•Unity…division become one with source.

Front 27

Monomane

Back 27

•Monomane is sometimes translated as mimesis a representation of a being.
•This is key to the understanding of the 5 character types presented earlier.

Front 28

Supernatural

Noh Characters

Back 28

Ki often shows the defeat of the supernatural being through the good and cleaver conduct of another character.

Front 29

Old Man

Noh Characters

Back 29

Shin praises noble virtues.

Front 30

Mad

Noh Characters

Back 30

Kyo – a person, often a woman, seeking revenge, for some tragedy.

Front 31

Beautiful Woman

Noh Characters

Back 31

Jo – The exposition of the ideal woman is shown on the shape/theme of the lyrical court lady.

Front 32

Warrior

Noh Characters

Back 32

nan – The warrior or battle theme often includes the narrator of the warrior’s own tragedy.

Front 33

Noh

Back 33

•Noh – translated, means skill or craft... not only as a performing art but as a tool by which the performer gains the ability to concentrate. This concentration or exercise of mind can be compared to the perception that many people have about the martial arts. Consider the ling ???

Front 34

Famous Noh Plays

Back 34

•Two Examples:
•The “single horned hermit” represents a supernatural play
•The story of “Dojoji” is a mad play.
•????

Front 35

Early Dance in Japan

Back 35

•Religious – temples and festivals
•Kagura
•Kusemai, Eunen
•Public Theater

Front 36

Training the Noh performer

Back 36

•The group academic training method is not the tradition in Noh. Noh is communicated through a very personal and familiar way.
•The tradition is known as “father to son” instructions and inheritance. There are very few cases in which women have been seen performing Noh. This new trend is bound to grow as Noh acquires more global attention.

Front 37

Kabuki

Back 37

•Translated, Kabuki means song, dance, skill/technique.
•17th century origins for this theatre art are founded in the story of Okuni.
•Okuni, the “renegade” priestess danced at a shrine near Kyoto…then as a dancer at a famous riverbed of Kyoto’s Kamo river.
•Scandal and triumph of Okuni.
•The onnagata was born. (female impersonator)
•The Shogun’s restriction on travel added to the voyage fascination in Kabuki.
•Entertainment for the growing middle/upper class.

Front 38

Kabuki training?

Back 38

Kabuki training historically followed the “father to son” path.

Front 39

furitsukeshi

Back 39

The furitsukeshi is the title for the professional choreographer.

Front 40

Kabuki

Back 40

•The themes of the plays can include any of the Noh themes…
•With the addition of “the journey”
•One important aspect is for the performer to completely alter his character in every way.

Front 41

Tokugawa Shogunate

Back 41

•The beginning of the 17th century also marked the start of the Tokugawa Shogunate, and until 1853 had the power to keep Japan closed off from the rest of the world.

Front 42

Mochimono

Back 42

Mochimono – variety of hand held props, added to Kabuki

Front 43

Sensu

Back 43

fan, which serves as almost the only hand help prop in Noh…and served as an abstract symbol of many things.

Front 44

Kabuki movements blend three elements…

Back 44

•From Noh, mai, a circular and sliding motion
•Odori – a folk type of movement including light leaps and some big jumps.
•Fruri – a wide range of mime.

Front 45

mai

(Noh)

Back 45

From Noh, mai, a circular and sliding motion

Front 46

Odori

Back 46

a folk type of movement including light leaps and some big jumps.

Front 47

Fruri

Back 47

a wide range of mime.

Front 48

Kabuki costume/make-up

Back 48

•Kabuki employs make-up instead of masks, called Kabuki Kamadori.
•The mi came to be a trademark of Kabuki as the temporary shape or expression seen on a performer’s face.

Front 49

Kabuki Stage

Back 49

•Originally an outside stage, the Kabuki stage became housed indoors to satisfy its popularity. It was also innovative.
•Rotating platforms
•Geza – room off-stage for musicians
•Trap doors, ramps

Front 50

Religious – temples and festivals

Back 50

•Kagura – Shinto
•Eunen – Buddhist

Front 51

Public Theater – Professional Stage

Back 51

•Noh – masked
•Kabuki – make-up
•Imperial court – Tokoyo Nobility ---- Bugoku

Front 52

Ichikawa Ennosuke

Back 52

•Another popular star of the Kabuki stage who performs many different types of roles.

Front 53

Bugaku

Back 53

•Gaguku – a generic term for pure orchestral music of the court.
•Bugaku – “dance with music”
•Exclusive to nobility and only first seen by the general public as recently as after WWII.

Front 54

Gaguku

Back 54

a generic term for pure orchestral music of the court.

Front 55

Kabuki

Back 55

•The themes of the plays can include any of the Noh themes…
•With the addition of “the journey”
•One important aspect is for the performer to completely alter his character in every way.

Front 56

Tokugawa Shogunate

Back 56

•The beginning of the 17th century also marked the start of the Tokugawa Shogunate, and until 1853 had the power to keep Japan closed off from the rest of the world.

Front 57

Mochimono

Back 57

Mochimono – variety of hand held props, added to Kabuki

Front 58

Sensu

Back 58

fan, which serves as almost the only hand help prop in Noh…and served as an abstract symbol of many things.

Front 59

Kabuki movements blend three elements…

Back 59

•From Noh, mai, a circular and sliding motion
•Odori – a folk type of movement including light leaps and some big jumps.
•Fruri – a wide range of mime.

Front 60

Public Theater – Professional Stage

Back 60

•Noh – masked
•Kabuki – make-up
•Imperial court – Tokoyo Nobility ---- Bugoku

Front 61

Ichikawa Ennosuke

Back 61

•Another popular star of the Kabuki stage who performs many different types of roles.

Front 62

Bugaku

Back 62

•Bugaku – “dance with music”
•Exclusive to nobility and only first seen by the general public as recently as after WWII.

Front 63

Gaguku

Back 63

a generic term for pure orchestral music of the court.

Front 64

The Tale of Genji

Back 64

•11th century novel of courtly life written by a 30 year old woman, Mwrasaki Shikibu. Includes descriptions of courtiers not only attending performances, but also dancing.
•Shinzei Kogaku Zu
•12th century ink handscholl from the Heian period shows the dance.

Front 65

Dances of the Left and Right: Samai and Umai
(Butoh)

Back 65

•Left: origins from China, SE Asia, and India
•Samai are performed in a slow, elegant and gentle manner
•Right: Korea
•Umai showing spirited movement, involve human and angular patterns.
•The left group uses the color red in their clothing
•Right: green

Front 66

Dances of the Left, Samai

Back 66

•Left: origins from China, SE Asia, and India
•Samai are performed in a slow, elegant and gentle manner
•The left group uses the color red in their clothing

Front 67

Dances of the Right,Umai

Back 67

•Right: Korea
•Umai showing spirited movement, involve human and angular patterns.
•Right: green

Front 68

Costumes
(Bugaku)

Back 68

•Fashion of the Heian era (794-1192) serves as the archetype.
•Dances of the left use costumes with red-based colors and the right use green, blue or yellow costumes.
•If performing at a Shinto shrine, white costumes are used.
•White shoes, slightly more constructed than the soft footwear of Noh.
•Some dances ???

Front 69

Props
(Bugaku)

Back 69

Ex: spears, swords, imitation snakes, and even butterfly wings in children’s dances.

Front 70

Dadiko (drums)

Back 70

•These are two large drums, up to 20 ft. hight. They are placed on separate platforms near the stage.
•Decorated with images of the sun, moon, and often dragons.
•Other instruments: mouth organ, bronze gong, several types of drums, flutes, stringed instruments.

Front 71

Butoh

Back 71

•Butoh means dance, step
•Dance of (utter) darkness

Front 72

Elements of the movement include:

(Butoh)

Back 72

oOkisa – “the force required by the reduction of the dancer’s efforts through concentration and restriction.”
o MA– spiritual and tempral links between one movement and the next that provide continuous flow.

Front 73

Founding artists –

(Butoh)

Back 73

oTatsumi Hijikata – started the shocking genre known as Ankoko Butch – “dance of utter darkness”
oKazuo Ono, the co – founder is still performing in his 90s.
•Tatsumi Hijikata shocked the public with a new “choreiographic extremism” in 1959.

Front 74

“Forbidden colors”
(Butoh)

Back 74

•With collaborator Kazuo Ono and others, Hijikata produced “Forbidden colors” and it serves as the landmark start of Butoh.

Front 75

New site specific
(Butoh)

Back 75

•(outdoors – anywhere) work appeared at this time as well.

Front 76

Sankai Juku
(Butoh)

Back 76

formed in the mid-1970s, all male Butoh group, known for their site specific work and outside hanging technique.

Front 77

Butoh disposed of classical dance parameters

Back 77

•But traces of Japanese archetypes can be observed.
•Absense of Kabuki Kamadori – little or no character detail often just white make-up
•Movement traditions from Noh and ghostly appearance.
•Mie – startling images that leave an impression.

Front 78

Mie
(Butoh)

Back 78

startling images that leave an impression.