Corporeal Politics: Dancing East Asia

Mezur, Katherine

doi:doi:10.3998/mpub.11521701

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.

Series

Studies in Dance History series

ISBN(s)

978-0-472-07455-6 (hardcover)
978-0-472-12694-1 (ebook)
978-0-472-05455-8 (paper)

Subject

Citable Link

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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.