This paper aims to understand the form and change of Butoh dance from the perspective of the body.
Hijikata Tatsumi’s dark butoh has discovered the “materiality” of the body, including grotesque and self-killing, regression of the body toward the darkness of the source, and fall. In the case of Ohno Kazuo, the spirits of the dead are accepted by his body, and his dances presented mainly improvised, entertaining, colorful, and dynamic movements by combining various opposite entities. The next generation, including Shankai Juku, is showing a different physicality from the previous generation. It shows the pursuit of "universal physicality" rather than individuality, or “physical retreat,” which is approaching universality by carving and refining the special form of dark Butoh with internationalization.
The objective of this study is to explore the effect of warm-up activities using the Feldenkrais Awareness Through Movement (ATM)® method on the physical awareness of dance major students in a university dance improvisation class. To achieve this, scripts for 12 ATM® classes were selected, based on which warm-up activities were being conducted for the junior year dance major students at University C in Gyeonggi Province, South Korea.
Warm-up activities employing the Feldenkrais ATM® Method were reported to be the most effective in Physical Relaxation, among the components of physical awareness. It was followed by “Physical Alignment”, “Sensory Reception”, “Sensory Restoration”, “Sensory Recognition”, “Mind-Body Connectivity”, “Self-image Formation”,“Concentration Control”, “Trust Factor” and “Movement Factor” respectively.
The study proved that the warm-up activities using Feldenkrais ATM® method were effective in all of the above mentioned physical awareness factors.
This study aims to find surrealism expressions in three pieces of William Forsythe by referencing four surrealism techniques : automatisme, dépaysement, collage, frottase. To analyze the works, the author enumerates notions and traits of surrealism techniques referring to other scholarly papers, books and videos. The City of Abstracts has a rubbed effect of audience’s body image. Scattered Crowd puts thousands of ballons in the space which, looks unfamiliar and irrelevant. Heterotopia emphasizes unconsciousness, which is the point of surrealism using props and sounds of dancers. Through these analyses, Forsythe’s works exemplify how surrealism techniques affect on contemporary dance works.
This study investigates the space of the creative dance work “Hyeon-hae (Dark Sea)”, in application of Lao-Tzu’s philosophy of “no-reason form.” The philosophy of no-reason form views the changes in the world as a process of a continuous cycle that is generated from emptiness to something, and reduced from something to emptiness.
Hyeon-hae uses the space referencing the various diagrams of Lao-Tzu and Chuang-Tzu and art works of Woohwan Lee to express ‘dao’ in diverse methods.
The purpose of this study is to identify the correlation between Taoism and the dance work by examining the process of visualizing Lao-Tzu’s philosophical form of emptiness. Through this, the paper aims to clarify the process in which the theme of the dance work is revealed not only in the movements, but also in the formal aspect of the dance space. Hence, the study presents one aspect of the creative dance work that is based on Eastern philosophy.
This study investigates Erika Fischer-Lichte’s perspective of performance emerged in three works of Boris Charmatz’s Dancing Museum: Flip Book (2008), Expo Zero (2009), 20 Dancers for the XX Century (2012). From Fisher-Lichte’s principles of performativity, I identify the concepts of feedback loop, event, changing the role, and reproduction to discuss the characteristics of Charmatz’s choreography.
The three works presented new frames avoiding the proscenium stage, allowing to form a feedback loop with the audience in a museum. By presenting past performances to the present, representation occurs, activating continuous events and changing roles. The choreographer presented the movements, actions, and actions of the dancer as a performativity dance. At the same time, Charmatz attempted interaction with the audience, expanding the idea of choreography.
This study examines the recent trend of problematization of racism in ballet and discerns anti-racist activism on ballet repertoires. Particularly it focuses on Mikhail Fokine’s Pétrouchka and Marius Petipa’s Nutcracker, which are considered to be representative examples of blackface and yellowface in ballet, respectively. As a part of art activism in various fields of art as well as academia since the 2010s, anti-racist activism has proliferated in the ballet field, which helps revisionism to finally win over preservationism in classic ballet discourse. Analyzing the dispute over the customs of blackface and yellowface in Pétrouchka and Nutcracker, I suggest that the problem is not a simple matter of make-up as racism is deeply intertwined with non-visible areas such as choreography and script. In the end, if there is not enough reflection on racist works, these works return to us in the name of the classics or canon, or in the form of reinterpretation, dedication, motifs, and parodies, while perpetuating racism in ballet.