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- Convenor:
-
Mariko Okada
Send message to Convenor
- Section:
- Performing Arts
- Sessions:
- Thursday 26 August, -
Time zone: Europe/Brussels
Short Abstract:
Traditional theater seems to be facing difficulties. This panel introduce representative new works related to Japanese classical dance and discuss how the traditional theater tries to integrate classical elements with modern people's interest and how to make tradition survive today.
Long Abstract:
Traditional theater in Japan, such as kabuki and nihon buyō (Japanese classical dance), seems to be facing difficulties. Although theater gathers large numbers of foreign tourists, audiences are decreasing in size. The aging of audiences is also a serious issue. Traditional theaters have been implementing many steps to attract young audiences, such as adapting Western stories, integrating Japanese manga and anime, using Vocaloid performers, and highlighting traditional Japanese culture. A nationalistic tone can also be seen in these productions. This panel introduces three papers on the issue of the new creation of classical dance drama. The first paper, entitled "Recreation Repeated," features the recreation of a modern playwright's work based on a well-known gossip in the 17th century. This dance drama was premiered in 1975 by dancers from a Japanese traditional dance school and a Japanese ballet company. In other words, it was an integration trial between ballet and traditional Japanese dance. From the 1950s to 1970s, traditional Japanese dance created many experimental works; however, most of them were not performed again. This paper also introduces the reconstruction trial being undertaken today. The second paper, entitled "Tradition Renewed," examines the recent new creation of traditional Japanese dance mainly produced by the Japanese Classical Dance Association, which is the only organization of traditional dance in Japan. The themes of their new attempts, such as Japanese rituals and festivals, are still traditional, although being created today. This paper argues the meaning of Japaneseness in traditional Japanese dance—whether "Japanese" is a dance technique or a theme. The third paper, entitled "From Innovative to Traditional" explores the history of new creations in traditional Japanese dance. The purpose and background of creation will be argued by this panel by analyzing the trends in these new works. In its entirety, this panel discusses the contemporary position of tradition in Japanese dance performance.
Accepted papers:
Session 1 Thursday 26 August, 2021, -Paper short abstract:
Introducing ongoing reconstruction project of integrated dance performance between Western ballet and Japanese Classical Dance, this paper argues how the integration was achieved and how the elements of Japanese traditional dance and western dance were utilized.
Paper long abstract:
Ballet was first introduced to Japan in 1911. Vittorio Rossi was invited from Italy by the Imperial Theater-affiliated acting school to teach students ballet, but he was not successful in producing ballet dancers. The body of ballet was clearly different to one of Japanese traditional dance. However, those who quit the school against the severe ballet method became the first generation of modern dance in Japan. In 1927, Eliana Pavlova opened her own ballet studio in Kamakura-city, Japan and then ballet gradually spreads in the country. But still However, it was not until the post-war period that ballet came to be popularized.
Taneo Ishida(1929-2012) has started his career as ballet dancer and choreographer in 1950's when Japanese traditional dancers also attempted to learn western dance style including ballet. He intendedly extracted Japanese traditional culture into his work physically, musically and spatially. He also tried to create original ballet rooted its climate and culture from 1960's. He endeavored to establish Japanese ballet. During this period, several ballet choreographers had similar idea and adopted Japanese traditional culture instead of imitating Western ballet pieces. However, the integrative attempts of new dance productions in 1960-70's were not received highly. They were never performed again and forgotten.
In this paper I mainly introduce revival project of "Onatsu Seijūrō" which was premiered in 1975 by joint project of ballet and Japanese traditional dance. Ishida played the central role in this project. The symphony was composed for this dance drama, which was reconstructed by composer himself in November 2019. The drama was originally written by Japanese famous theater scholar Tsubouchi Shōyō (1859-1935) inspired by popular theatrical icon called Onatsu who is said to exist in 17th century, appeared in plural theatrical dramas in Edo period. Analyzing the attempts in 1975 thorough choreography note and scripts and recent reproduction, this paper argue how the traditional theater icon worked in westernized dance society in Japan.
Paper short abstract:
Examining newly created Japanese dance, this paper explores the tendency of their themes and directions and discusses why and how these common characteristics were constructed. It also refers to the nationalistic climate which promotes new traditional performance.
Paper long abstract:
Nihon buyō (Japanese classical dance) is recognized as representative Japanese traditional culture, but in addition to perform classical repertoires which was premiered more than a hundred years ago, several new dance dramas have been written every year and premiered. The Japanese Classical Dance Association which is one and only representative organization for professional dancers hosts several dance performances, including special performance of new productions. Even the number of new works has decreased recently, each year the association works together to create new productions. In this manner, newly created repertoires have been not exceptions but established activities of Japanese classical dance.
Creating new dance seems to be social requirement. Especially, because of hosting Tokyo 2020 Olympic and Paralympic games or even Osaka, Kansai expo 2025, nationalistic climate encourages traditional performance including Japanese classical dance to represent Japanese culture. However, it is another issue to define Japanese classical dance. Since being distinguished from other dance forms, it could have its unique techniques of body movements or stage directions. However, nevertheless, restrictive contents seem to be expected for this certain dance. They tend to depict exotic image of Japan, such as myth, rituals or four seasons. In comparison with other creative dances, the Japanese classical dance is overwhelmingly limited.
This paper examines recent attempts of new works produced by Japanese Classical Dance Association. Most of them are group dances which require tens of dancers. As the number of new productions have come down, the scales of the performances have become bigger. This trend made dancers more difficult to create new work. Even based on western story, characters seem to be people in premodern Japan by the look of their costumes. In this way, this paper analyzes the current situation of the new productions of Japanese classical dance and argue how new trend of tradition or exoticism-like "Japan" has been recreated.
Paper short abstract:
Japanese dance has changed from innovative to traditional after establishment in pre-war Japan. This paper explores historical attempts of Japanese dance to resist this trend and discusses how the innovative attempts have related to the mainstream of traditionalization.
Paper long abstract:
Contrary to expectations, traditional Japanese dance has shorter history. Its first official organization for professional dancers was founded in 1931. This is the predecessor of today's Nihon Buyo Kyokai (Japanese Classical Dance Association). The term nihon buyo literally means Japanese dance and it does not include any term meaning classical. As this term show, nihon buyo referred to a new wave dances which were expected to assume the role of theatrical art form authenticated by the modern nation-state of Japan. Umemoto Rikuhei(1897-1985), prominent dancer and choreographer, went to Europe in the 1930's to learn European dances. He introduced Laban's dance theory and produced many dance performances which were not at all traditional Japanese.
In contrast to the pre-war developments, "nihon buyo" stopped to represent art form and have gradually withdrawn into the shell of tradition. Surrounded by various new art styles even in the genre of dance in Japan, it had no choice but to continuously remain as a part of the Japanese traditional arts and has given up its literal meaning. Even in this climate, there had been attempts of traditional Japanese dancers to show their creativity and to establish their original thought in 1950's to 1970's.
Buyō Gekijo (literally means "Dance Theater") is the most outstanding and influential example in the history. It belongs to the first attempts to reverse the conventional image of the then Japanese classical dance. It is also the attempt to do things that are contrary to the conservative head-master system of traditional culture. In the pursuit of the better performance, it removed regulations of the system and gather young dancers and artists from different schools of Japanese dance. The movement of this dance troupe inspired contemporary arts and has become the legendary today.
This paper explores the achievements of this dance troupe and through positioning their accomplishments in the history of Japanese dance, discusses how the new dances have worked in its transition.