By Susan Blakeley Klein

A quick creation to the heritage, philosophy, and methods of the japanese avant-garde dance circulation, Ankoku Butô. Evoking pictures of ugly attractiveness, revelling within the seamy underside of human habit, yetô dance teams comparable to Sankai Juku and Dai Rakuda-kan have played to broad serious and renowned acclaim, making yetô the most influential new forces within the dance global this present day. The monograph lines the improvement of yetô from its delivery 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 effect of conventional eastern functionality on yetô thoughts. The final bankruptcy analyzes a particular dance (Niwa - The backyard) through Muteki-sha, to teach how those innovations are used concretely. comprises translations of 4 essays on yetô through modern eastern dance critics.

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

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Men were forced to become women, the dancers had to become aIl sorts of imaginary beasts and monsters. 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.

The will do es not move the muscles, the muscles themselves have their own will. "73 By completely distorting the face out of all recognition the self is relieved of the tremendous pressure to be a distinct "personality" and is able to "fuse" back into a feeling of spiritual unity and tranquility with nature and with itself. By fragmenting the body--emphasizing the separation of the body from the control of the brain by random articulation of the individual parts--the goal of separating the body from the brain that has been filled with the institutional rubbish of modernity is achieved.

18 At the beginning of "Izumeko," Maezawa seems to simultaneously control, and to be controlled by, the forces that she has called up. However, as the dance progresses, there is the sound of agreat wind rising, and with arms spread wide (incidentally revealing the gorgeousness of the lining of her kimono) the dancer gives herself up to the force of the wind, blowing backwards around the stage like a brightly colored kite. During one of these wide loops, Maezawa runs briefly offstage right, and N akajima cornes back on with the kimono; a trick to make the casual observer believe it is the same woman.

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