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  2. Corporeal Politics: Dancing East Asia

Corporeal Politics: Dancing East Asia

Katherine Mezur and Emily Wilcox, Editors 2020
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In Corporeal Politics, leading international scholars investigate the development of dance as a deeply meaningful and complex cultural practice across time, placing special focus on the intertwining of East Asia dance and politics and the role of dance as a medium of transcultural interaction and communication across borders. Countering common narratives of dance history that emphasize the US and Europe as centers of origin and innovation, the expansive creativity of dance artists in East Asia asserts its importance as a site of critical theorization and reflection on global artistic developments in the performing arts.

Through the lens of "corporeal politics"—the close attention to bodily acts in specific cultural contexts—each study in this book challenges existing dance and theater histories to re-investigate the performer's role in devising the politics and aesthetics of their performance, as well as the multidimensional impact of their lives and artistic works. Corporeal Politics addresses a wide range of performance styles and genres, including dances produced for the concert stage, as well as those presented in popular entertainments, private performance spaces, and street protests.

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Series
  • Studies in Dance: Theories and Practices
ISBN(s)
  • 978-0-472-05455-8 (paper)
  • 978-0-472-12694-1 (ebook)
  • 978-0-472-07455-6 (hardcover)
Subject
  • Asian Studies
  • Theater and Performance
  • Dance
Citable Link

  • Table of Contents

  • Resources

  • Stats

  • Cover
  • Title Page
  • Copyright Page
  • Dedication
  • Contents
  • Acknowledgments
  • Note on Translation and East Asian Names
  • Introduction
  • Part 1: Contested Genealogies
    • Chapter 1. Sexuality, Status, and the Female Dancer
    • Chapter 2. Mei Lanfang and Modern Dance
    • Chapter 3. The Conflicted Monk
  • Part 2: Decolonizing Migration
    • Chapter 4. Murayama Tomoyoshi and Dance of Modern Times
    • Chapter 5. Korean Dance Beyond Koreanness
    • Chapter 6. Diasporic Moves
    • Chapter 7. Choreographing Neoliberal Marginalization
  • Part 3: Militarization and Empire
    • Chapter 8. Masking Japanese Militarism as a Dream of Sino-Japanese Friendship
    • Chapter 9. Imagined Choreographies
    • Chapter 10. Exorcism and Reclamation
  • Part 4: Socialist Aesthetics
    • Chapter 11. Choe Seung-hui Between Classical and Folk
    • Chapter 12. The Dilemma of Chinese Classical Dance
    • Chapter 13. Negotiating Chinese Identity through a Double-Minority Voice and the Female Dancing Body
  • Part 5: Collective Technologies
    • Chapter 14. Cracking History’s Codes in Crocodile Time
    • Chapter 15. Fans, Sashes, and Jesus
    • Chapter 16. Choreographing Digital Performance in Twenty-First-Century Taiwan
    • Coda
  • Contributors
  • Index

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Figure 1.1. A group of nine men, some clapping their hands, watch two women on a small rug dance together with bent torsos and swirling scarves. In the background a man beats a drum.

Mu dan ting huan hun ji

From Chapter 1

Fig. 1.1. Two dancers performing in front of a group of several men. From Tang Xianzu 湯顯祖 (1550–1616), Mu dan ting huan hun ji: Yu ming tang yuan ben 8 juan 牡丹亭還魂記: 玉茗堂原本 8卷 (Shanghai: Sao ye shan fang, [18??]), j. xia.51b. Courtesy Hathi Trust). Available at https://doi.org/10.3998/mpub.11521701.cmp.1.

Figure 3.1. Wu, dressed as a Buddhist monk, puts two palms together in a praying gesture, raises his right foot slightly forward, and turns his head toward the wall at the left.

Wu Xiaobang in Si fan, 1942 - 1

From Chapter 3

Fig. 3.1. Wu Xiaobang performing Si fan, 1942, Qujiang, Guangdong Province, China. Source: Yu Ping 余平 and Feng Shuangbai 冯双白, eds. 2006. Bai nian Wu Xiaobang 百年吴晓邦 (A hundred years of Wu Xiaobang), Beijing: Wenhua yishu chubanshe 文化艺术出版社, p. 19. Available at https://doi.org/10.3998/mpub.11521701.cmp.5.

Figure 3.2. Wu, dressed as a Buddhist monk, puts two palms together in a praying gesture, walks to the left, lifts his head facing the audience, and peeks beyond the supposed wall.

Wu Xiaobang in Si fan, 1942 - 2

From Chapter 3

Fig. 3.2. Wu Xiaobang performing Si fan, 1942, Qujiang, Guangdong Province, China. Source: Yu Ping 余平 and Feng Shuangbai 冯双白, eds. 2006. Bai nian Wu Xiaobang 百年吴晓邦 (A hundred years of Wu Xiaobang), Beijing: Wenhua yishu chubanshe 文化艺术出版社, p. 19. Available at https://doi.org/10.3998/mpub.11521701.cmp.6.

Figure 6.2. Dai Ailian performs Tibetan dance in long dress with striped apron. She stamps her feet in boots with thick, flat soles and flings long sleeves over one shoulder.

Dai Ailian in Ba’an xianzi, 1946

From Chapter 6

Page 124 →Fig 6.2. Dai Ailian performing her Tibetan dance Ba’an xianzi, which she premiered in Chongqing in 1946. Yiwen huabao 艺文画报2, no. 5, 1947, p. 6. Reproduction provided by the Chinese Periodical Full-text Database (1911–1949), Quan Guo Bao Kan Suo Yin (CNBKSY), Shanghai Library. Available at https://doi.org/10.3998/mpub.11521701.cmp.12.

Figure 12.1. A woman dancer in flowing pants and jacket poises on the ball of her right foot, lifting into the air as she reaches up to the right with an open rainbow-colored silk fan.

Wang Yabin in Fan as a Brush

From Chapter 12

Fig. 12.1. Wang Yabin performing Chinese classical dance solo Fan as a Brush, premiered in 2000 and choreographed by Tong Ruirui. Photo by Ye Jin 叶进 courtesy of the photographer. Available at https://doi.org/10.3998/mpub.11521701.cmp.23.

Eleven women dancers in lavender Han dynasty-style Chinese robes poise mid-step, their bodies and arms forming diagonal lines, about to step on round floor drums.

Group dance from Tongque Ji, 2009[1985]

From Chapter 12

Fig. 12.2. Students from the Beijing Dance Academy performing a group dance created for the 2009 revival of Han-Tang style dance drama Tongque Ji 铜雀伎 (originally premiered in 1985), choreographed by Sun Ying. Photo by Ye Jin 叶进 courtesy of the photographer. Available at https://doi.org/10.3998/mpub.11521701.cmp.24.

Figure 13.1. Ting-Ting Chang stands with her back to the audience, left hand lifting the hem of her skirt behind her, right hand reaching up to form the silhouette of a peacock head.

Ting-Ting Chang in Spirit of the Peacock, 2008[1986]

From Chapter 13

Fig 13.1. Ting-Ting Chang (the author) performing Yang Liping’s Spirit of the Peacock in Close Up Dance at the Performing Arts Department, Washington University in St. Louis, in 2008. Photo by David Marchant courtesy of the photographer. Available at https://doi.org/10.3998/mpub.11521701.cmp.25.

Figure 13.2. Yang Liping twirls on stage in a white gown and crystal-studded bodice, hands together behind her back, a feather hairpiece atop her head, surrounding by white snow.

Yang Liping in The Peacock, 2012

From Chapter 13

Figs. 13.2. Yang Liping performing a peacock dance solo in her 2012 dance drama The Peacock. Photo courtesy Yunnan Yang Liping Arts Culture Co., Ltd. Available at https://doi.org/10.3998/mpub.11521701.cmp.26.

Figure 13.3. A male dancer in black peers around the cascading tail of a giant blue peacock, Yang Liping. Yang lifts her left hand in the peacock head pose and glances at the audience.

Yang Liping in duet from The Peacock, 2012

From Chapter 13

Page 245 →Figs 13.3. Yang Liping in duet from The Peacock, 2012. Available at https://doi.org/10.3998/mpub.11521701.cmp.27.

This blue tone monochrome scene depicts a room with three men in the background seated at a table sharing food and tea as they watch two female performers dancing on a rug in the foreground. The men wear elegant robes and appear to be wealthy and educated. The women have long, layered gowns with flowing sleeves and long billowing streamers that float in the air around them. The dancer on the right has her left arm raised over her head and her right knee lifted with foot flexed, her torso twisting to the right. The dancer on the left has her right arm raised above her head in an arc and her right knee lifted with foot flexed, her torso twisting to the left. The two dancers face each other and appear to mirror each other’s movements. The right side of the image is framed by carved wooden furniture and a potted plant. On the right side is half of an octagonal-shaped window that looks out onto bamboo. The floor is covered in a tile-like grid. Writing in Chinese characters appears on the top right and top left of the image.

Illustration from Liao zhai zhi yi xin ping

From Chapter 1


 Open external resource at https://www.metmuseum.org

Han Dynasty dancer on Metropolitan Museum of Art Website

From Chapter 1


 Open external resource at https://doi.org

Chen Ailian performing Spring, River, and Flowers on a Moonlit Night, 1959

From Chapter 12


 Open external resource at https://doi.org

Excerpt from Chinese classical-style dance drama Magic Lotus Lantern, 1959

From Chapter 12

Wang Yabin performing Fan as a Brush (Shanwu danqing)

From Chapter 12


 Open external resource at https://doi.org

Yang Liping performing Spirit of the Peacock, 2007

From Chapter 13


 Open external resource at https://v.qq.com

Full video of Yang Liping’s Dynamic Yunnan (10-year anniversary version).

From Chapter 13


 Open external resource at http://www.youtube.com

Promotional video and interviews about Dynamic Yunnan

From Chapter 13

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