Miyako Odori, 2019
From Chapter 8
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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.
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.
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.
From Chapter 8
From Chapter 8