This research carries a purpose to understand the characteristics of Japanese modern dance in the early twentieth century, which has been invigorated with comings and goings with the introductions of Western culture. The twentieth century of the West could be called as the century of wars because of...
This research carries a purpose to understand the characteristics of Japanese modern dance in the early twentieth century, which has been invigorated with comings and goings with the introductions of Western culture. The twentieth century of the West could be called as the century of wars because of an important change that happened. This period of the time is also called ist era by crying out for the liberation from the inner world within the obsession of dark environmental factors such as social dilemma, political consciousness of crisis, anxiety and so on. Japan had experienced a lot of changes after the World War II through the rapid introduction and interchange of European culture. This study considers the change of Japanese dance in the 20th century. This thesis analyses the artistry of Ishii Baku, Tatsumi Hijikata, Kazuo Ohno, and Jo Kanamori based on their lifetimes and their artworks while also explains their distinguishing factors. Furthermore, these six points of conclusion are established by doing research on the Western dancers who had influenced them. First, genres of art such as literature, music, dance, play, art and so on reflected ism from the social atmosphere and a technological advance after the World War with the appearance of new art trend. Four dancers, experiencing the turbulence of WWII, Ishii Baku, Tatsumi Hijikata, Kazuo Ohno, and Jo Kanamori, become leaders of Japanese dance. Commonly, Ishii baku, Tatsumi Hijikata, Kazuo Ohno, and Jo Kanamori graft ism onto dance by experiencing it. Moreover, their dances take on a new aspect inspired by the representative Western dancers. Ishii Baku learned from Émile Dalcroze, Tatsumi Hijikata studied under Mary Wigman, Kazuo Ohno studied under Antonia Mercé and Jo Kanamori learned from Mourice Béjart and Jiri Kylian. Second, all four Japanese dancers led new dance. Ishii Baku achieved creation of chore poem, Tatsumi Hijikata and Kazuo Ohno developed different propensity of Buto respectively, dark Buto and impromptu Buto. To be more detailed, Tatsumi Hijikata tried to work based on unique physical of Japanese in Japan while Kazuo Ohno prepared the opportunity to introduce Buto outside of the country, and said the movement of nature itself and thinking body and soul together is Buto. Also, Jo Kanamori is a dancer who applied European modern dance and Japanese spirit to improve foundation of new dance. Jo Kanamori differentiates the Buto that has distinct characteristic of Japan, and he pursues the European style modern dance while leading 21 century with active work. Third, it partakes of synthetic art form. Apart from the desire for own dance, they showed the talent as a choreographer or art director, and spread their own dance while attempting many researches and work with stage setting, design, play, lighting, arts and architecture. Fourth, while Ishii Baku, Tatsumi Hijikata and Kazuo Ohno were influenced by western culture while working hard to create dance with ethnic characteristic that suits well for Japanese people’s Asian body, Jo Kanamori absorbed the influence of western culture, accorded it with Japanese people’s spiritual inner world to express integrally. In other words, he actually lead the introduction of the newest Euopean style to Japan to accept western style and have Oriental style blend together. Fifth, Ishii Baku, Tatsumi Hijikata and Kazuo Ohno and Jo Kanamori are all male dancers. It shows that the flow of Japanese dance field is represented by male dancers, and the ethnic awareness of Japan is expressed in a stronger image by men. Sixth, while Ishii Baku and Tatsumi Hijikata have much elements by ism, Kazuo Ohno and Jo Kanamori’s dance show many minimalist elements. In other words, if the early 20th century was ism, then the minimalism was introduced in the mid-20th century. As indicated above, the flow of general thought in time is called the trend. The culture reflects the time, and as an important matter to lead the change, the trend keeps changing as the time changes. Ishii Baku’s chore poem was reborn as a Japanese modern dance from traditional Japanese dance, Noh and Kabuki as it passes through 20th century, and Tatsumi Hijikata created dark Buto as dark sorrow of the war, ruin, death, and sadness were composed with the physical , Japanese’s short height and bowed legs. The Buto was gradually differentiated from the creative Buto which distinctively shown in dance of soul that was performed when Kazuo Ohno was 70 years old, Ohno became the very person who globalized Buto. While the Buto remained a Japanese dance for a while, Jo Kanamori grew as a choreographer from his meeting with Maurice Béjart in Europe as a starting point, and showed steady growth as a choreographer in Jili Kylian’s Dutch dance theater. Upon his return to Japan, he created a dance company, and started to rewrite Japanese modern dance again in a stagnant Japanese dance field. Jo Kanamri introduced the best system he experienced in Europe, currently operating it, and much of his movement in Japan progressed for the first time. From the point that he goes forward in the world after the huge sensation in Japan, another growth of Japanese modern dance is expected.
This research carries a purpose to understand the characteristics of Japanese modern dance in the early twentieth century, which has been invigorated with comings and goings with the introductions of Western culture. The twentieth century of the West could be called as the century of wars because of an important change that happened. This period of the time is also called ist era by crying out for the liberation from the inner world within the obsession of dark environmental factors such as social dilemma, political consciousness of crisis, anxiety and so on. Japan had experienced a lot of changes after the World War II through the rapid introduction and interchange of European culture. This study considers the change of Japanese dance in the 20th century. This thesis analyses the artistry of Ishii Baku, Tatsumi Hijikata, Kazuo Ohno, and Jo Kanamori based on their lifetimes and their artworks while also explains their distinguishing factors. Furthermore, these six points of conclusion are established by doing research on the Western dancers who had influenced them. First, genres of art such as literature, music, dance, play, art and so on reflected ism from the social atmosphere and a technological advance after the World War with the appearance of new art trend. Four dancers, experiencing the turbulence of WWII, Ishii Baku, Tatsumi Hijikata, Kazuo Ohno, and Jo Kanamori, become leaders of Japanese dance. Commonly, Ishii baku, Tatsumi Hijikata, Kazuo Ohno, and Jo Kanamori graft ism onto dance by experiencing it. Moreover, their dances take on a new aspect inspired by the representative Western dancers. Ishii Baku learned from Émile Dalcroze, Tatsumi Hijikata studied under Mary Wigman, Kazuo Ohno studied under Antonia Mercé and Jo Kanamori learned from Mourice Béjart and Jiri Kylian. Second, all four Japanese dancers led new dance. Ishii Baku achieved creation of chore poem, Tatsumi Hijikata and Kazuo Ohno developed different propensity of Buto respectively, dark Buto and impromptu Buto. To be more detailed, Tatsumi Hijikata tried to work based on unique physical of Japanese in Japan while Kazuo Ohno prepared the opportunity to introduce Buto outside of the country, and said the movement of nature itself and thinking body and soul together is Buto. Also, Jo Kanamori is a dancer who applied European modern dance and Japanese spirit to improve foundation of new dance. Jo Kanamori differentiates the Buto that has distinct characteristic of Japan, and he pursues the European style modern dance while leading 21 century with active work. Third, it partakes of synthetic art form. Apart from the desire for own dance, they showed the talent as a choreographer or art director, and spread their own dance while attempting many researches and work with stage setting, design, play, lighting, arts and architecture. Fourth, while Ishii Baku, Tatsumi Hijikata and Kazuo Ohno were influenced by western culture while working hard to create dance with ethnic characteristic that suits well for Japanese people’s Asian body, Jo Kanamori absorbed the influence of western culture, accorded it with Japanese people’s spiritual inner world to express integrally. In other words, he actually lead the introduction of the newest Euopean style to Japan to accept western style and have Oriental style blend together. Fifth, Ishii Baku, Tatsumi Hijikata and Kazuo Ohno and Jo Kanamori are all male dancers. It shows that the flow of Japanese dance field is represented by male dancers, and the ethnic awareness of Japan is expressed in a stronger image by men. Sixth, while Ishii Baku and Tatsumi Hijikata have much elements by ism, Kazuo Ohno and Jo Kanamori’s dance show many minimalist elements. In other words, if the early 20th century was ism, then the minimalism was introduced in the mid-20th century. As indicated above, the flow of general thought in time is called the trend. The culture reflects the time, and as an important matter to lead the change, the trend keeps changing as the time changes. Ishii Baku’s chore poem was reborn as a Japanese modern dance from traditional Japanese dance, Noh and Kabuki as it passes through 20th century, and Tatsumi Hijikata created dark Buto as dark sorrow of the war, ruin, death, and sadness were composed with the physical , Japanese’s short height and bowed legs. The Buto was gradually differentiated from the creative Buto which distinctively shown in dance of soul that was performed when Kazuo Ohno was 70 years old, Ohno became the very person who globalized Buto. While the Buto remained a Japanese dance for a while, Jo Kanamori grew as a choreographer from his meeting with Maurice Béjart in Europe as a starting point, and showed steady growth as a choreographer in Jili Kylian’s Dutch dance theater. Upon his return to Japan, he created a dance company, and started to rewrite Japanese modern dance again in a stagnant Japanese dance field. Jo Kanamri introduced the best system he experienced in Europe, currently operating it, and much of his movement in Japan progressed for the first time. From the point that he goes forward in the world after the huge sensation in Japan, another growth of Japanese modern dance is expected.
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