By Susan Blakeley Klein
A short creation to the heritage, philosophy, and strategies of the japanese avant-garde dance stream, Ankoku Butô. Evoking photos of ugly good looks, revelling within the seamy underside of human habit, yetô dance teams reminiscent of Sankai Juku and Dai Rakuda-kan have played to broad serious and renowned acclaim, making yetô essentially the most influential new forces within the dance international at the present time. The monograph lines the advance 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 check the impact of conventional jap functionality on yetô options. The final bankruptcy analyzes a selected dance (Niwa - The backyard) via Muteki-sha, to teach how those thoughts are used concretely. contains translations of 4 essays on yetô by way of modern eastern dance critics.
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Extra resources for Ankoku Buto: The Premodern and Postmodern Influences on the Dance of Utter Darkness
The climax of the play cornes when the ghost is released from its attachment through the telling of his or her story and thus receives enlightenment. 10 In "Nanakusa," the opening scene of Niwa, we seem to be in the presence of exactly the same kind ofyoung woman that opens a No play; a woman making an offering to the gods. Or perhaps, going back to the original basis for No, she is a shamanistic miko caught up in the ritual trance that is her art. In addition, the bundle of dried flowers and grasses strongly suggest that we are witnessing sorne kind of harvest ritual.
Nakajima) Another dancer, Maezawa Yuriko, joined Nakajima in this program. As indicated in the program given above, in the first haif the two dancers alternated section by section. The white makeup, which in Buto acts to mask particular individuality, was here used to good effect: it allowed the two dancers to play one character, the single role of Nakajima as child, young girl, old woman, ghost, and Buddha. In only one scene were the two dancers on stage together; the section in "The Dream" where they were transformed into two insects in a garden.
By way of conclusion, it seems apt to paraphrase a description taken from an essay by Haga Taro on Japanese avant-garde art, as an illustration ofhow the Buta dancer in the last section of Niwa would herself wish to be seen: as a figure advancing inexorably toward enlightenment, exorcising the ghosts of interpretations, those demons who blind us to the troe reality, while it simultaneously causes the collapse of that scaffolding of concepts which clutter up our meager intellect, in order to restore us, as it were, to ourse Ives, to our original selves.
Ankoku Buto: The Premodern and Postmodern Influences on the Dance of Utter Darkness by Susan Blakeley Klein