Corporeal Politics: Dancing East Asia

Mezur, Katherine

doi:doi:10.3998/mpub.11521701

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Figure 4.1. Murayama Tomoyoshi in bobbed hair and a dress stands barefoot and barelegged, arms spread like eagle wings, leaning and staring forward in front of a stone fireplace.

Murayama Tomoyoshi at Jiyu Gakuen, 1923

From Chapter 4

Fig. 4.1. Murayama Tomoyoshi dancing at Jiyū Gakuen in 1923. Source: Murayama Tomoyoshi: Get All of Me Seething exhibition catalogue, 2012. Photo no. III-134, p. 117. Available at https://doi.org/10.3998/mpub.11521701.cmp.7.

Figure 4.2. Murayama in bobbed hair, a dress, and high heels, twists his body and steps forward in a deep knee bend. Okada crouches, feet turned out, twisting torso bent forward.

Murayama Tomoyoshi and Okada Tatsuo at Chieruteru no kai, 1924

From Chapter 4

Fig. 4.2. Murayama Tomoyoshi and Okada Tatsuo dancing at Chieruteru no kai in 1924. Source: Murayama Tomoyoshi: Get All of Me Seething exhibition catalogue, 2012. Photo no. III-137, p. 119. Available at https://doi.org/10.3998/mpub.11521701.cmp.8.

Figure 8.1. On a stage eighteen meters wide and surrounded by pink cherry blossoms, thirty-six female dancers in traditional costume stand in rows spreading out their hands.

Miyako Odori, 2019

From Chapter 8

Fig, 8.1. Miyako Odori in 2019. Its group dance in identical costumes has basically followed the same style since its first performance in 1872. Photo by Hayashi Photo provided by Gion Kobu Kabukai. Available at https://doi.org/10.3998/mpub.11521701.cmp.15.

Figure 8.2. Seven bobbed haired girls dance, holding Japanese flags, with white sashes printed “Beloved Horse Girls Group of Gion” worn diagonally across the shoulders.

Child Dancers in Miyako Odori, 1939

From Chapter 8

Fig, 8.2. Child dancers in the costume modeled after the uniform of the Kokubō fujin-kai, Japan’s National Defense Women’s Association. Nisshi-shinkō 日支親交” or “Friendship between Japan and China” from 1939 Miyako Odori. Courtesy Gion Kobu Kabukai and Kyomai Inoue-ryu. Available at https://doi.org/10.3998/mpub.11521701.cmp.16.

Figure 9.1. Itō sits, arm resting against chair back, face turned out. His hair is white, and his face wears an expression of calm interest, with a hint of a smile.

Michio Itō, 1938

From Chapter 9

Fig, 9.1. Michio Itō, October 1938, California. Photo by Johan Hagemeyer, from the Johan Hagemeyer photograph collection, BANC PIC 1964.063 Ito, Michio :005—PIC, © The Regents of the University of California, The Bancroft Library, University of California, Berkeley. Available at https://doi.org/10.3998/mpub.11521701.cmp.17.

Figure 14.1. Five women, in pasty white powder and rice paper, wearing old geisha wigs, squat in various positions, grimacing. One woman in front, grimaces, her mouth wide open.

Ashikawa Yoko et al in Hôsôtan, 1972

From Chapter 14

Fig. 14.1. Women’s Collective Choreography, Hōsōtan (1972) Women’s chorus: Ashikawa Yoko, Nimura Momoko, Kobayashi Saga, Yoshino (Tamano) Hiroko, Kurosaki Midori. Photo by Onozuka Makoto. Available at https://doi.org/10.3998/mpub.11521701.cmp.28.

Figure 14.2. Four women, nearly naked, hold black umbrellas high overhead. They walk in a row, bending backwards, along the edge of a waterfall.

Furukawa Anzu et al's Diamond as Big as the Ritz 1991

From Chapter 14

Fig, 14.2. Women’s Collective Choreography, right to left: Sano Makiko, Lilo Stahl, Torunn Robstad, and Ulrike Drescher in Diamond as Big as the Ritz 1991, on location rehearsal. Direction/ Co-creation by Furukawa Anzu. Photo by Okano Shoichi. Available at https://doi.org/10.3998/mpub.11521701.cmp.29.