Skip to main content
University of Michigan Press Ebook Collection

University of Michigan Press
Ebook Collection

Browse Books Help
Get access to more books. Log in with your institution.

Your use of this Platform is subject to the Fulcrum Terms of Service.

Share the story of what Open Access means to you

a graphic of a lock that is open, the universal logo for open access

University of Michigan needs your feedback to better understand how readers are using openly available ebooks. You can help by taking a short, privacy-friendly survey.

  1. Home
  2. Books
  3. Corporeal Politics: Dancing East Asia

Corporeal Politics: Dancing East Asia

Katherine Mezur and Emily Wilcox, Editors
Restricted You don't have access to this book. Please try to log in with your institution. Log in
Read Book Buy Book
  • Overview

  • Contents

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.
  • 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
Citable Link
Published: 2020
Publisher: University of Michigan Press
ISBN(s)
  • 978-0-472-07455-6 (hardcover)
  • 978-0-472-12694-1 (ebook)
  • 978-0-472-05455-8 (paper)
Series
  • Studies in Dance: Theories and Practices
Subject
  • Asian Studies
  • Theater and Performance
  • Dance

Resources

Search and Filter Resources

Filter search results by

Section

  • Chapter 14
Filter search results by

Keyword

  • Butoh16
  • Japan16
Filter search results by

Creator

  • Okano, Shoichi1
  • Onozuka, Makoto1
Filter search results by

Format

  • image7
  • text6
  • video3
Filter search results by

Exclusivity

  • Exclusive to Fulcrum1
Your search has returned 16 resources attached to Corporeal Politics: Dancing East Asia

Search Constraints

Filtering by: Section Chapter 14 Remove constraint Section: Chapter 14
Start Over

Not finding what you are looking for? Help improve Fulcrum's search and share your feedback.

1 - 16 of 16
  • First Appearance
  • Section (Earliest First)
  • Section (Last First)
  • Format (A-Z)
  • Format (Z-A)
  • Year (Oldest First)
  • Year (Newest First)
Number of results to display per page
  • 10 per page
  • 20 per page
  • 50 per page
  • 100 per page
View results as:
List Gallery

Search Results

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.

Four barefoot nude women stand in a single file line on a sandy beach holding open black umbrellas above their heads. The women have their upper bodies tilted back and face to the right with their heads titled upward. Their legs are slightly bent, with thighs together and calves and feet slightly separated. Their body lines create crescent-moon arcs from their feet to the tops of their heads. Their torsos face on an angle, so that they are partially visible to the camera. The women’s dark hair is tied in buns, and it matches the dark, thick patches of hair on their exposed pelvic regions. Two of the women’s breasts are visible and two are covered by their arms. The photograph is in color but has a strong blue filter. A wave crashes on the beach behind the four women. The sky is clear and the horizon is visible but blurry in the distance.

Program Furukawa Anzu Diamond as big as the Ritz

From Chapter 14

This is a black and white cast shot showing eleven people, approximately in their thirties, arranged in a studio facing the camera in two rows. Five people kneel in the front row and six stand behind them. All eleven have their arms crossed or hands crossed in front of their torsos, and each makes a different strange facial expression, such as smirking, grinning, looks of exaggerated shock or suspicion, or unsettling stares. One woman sticks out her tongue. Three of the men have shaved heads, and all of the women have long, often curly or wavy black hair. They are bundled in layers of everyday winter clothing, including sweaters, coats, and scarves. The man in the front center appears to be wearing a bathrobe.

Furukawa with Dairakudakan Women’s Chorus offstage, 1975 MESU

From Chapter 14

Ashikawa and Women’s chorus in Hosotan

From Chapter 14

Yoko Ashikawa (1986) - Wi-Fi

From Chapter 14

Document File Icon
Open external resource at http://bit.ly

Free Visual material and introductory lectures on Hijikata Tatsumi butoh on the Keio University sponsored and supported Future Learn online course site.

From Chapter 14

Video File Icon
Open external resource at https://vimeo.com

“Rent-a-Body Last Night at Ballhaus” Berlin 1989

From Chapter 14

Document File Icon
Open external resource at http://www.art-c.keio.ac.jp

Hijikata Tatsumi Archive at Keio University Art Center (in Japanese and English)

From Chapter 14

Image File Icon
Open external resource at http://www.okano-photo.co.jp

Furukawa Anzu’s Photographer, Okano Shoichi’s website photo gallery of her works and performance programs: “Shoichi Okano Photo Office Inc.”

From Chapter 14

Image File Icon
Open external resource at http://ausloeserfreude.blogspot.com

Photoblog Archive, sources and photographs of Furukawa Anzu by Gregor von Glinski. Free for public use.

From Chapter 14

Document File Icon
Open external resource at http://butoharchive.herokuapp.com

Short synopsis of Furukawa Anzu’s works and her connections to butoh artists

From Chapter 14

Document File Icon
Open external resource at http://butoharchive.herokuapp.com

Short synopsis of Ashikawa Yoko's network of butoh artists

From Chapter 14

Document File Icon
Open external resource at https://satisshroffblog.wordpress.com

Article on Furukawa Anzu’s influence on European dance theatre. Free for public use.

From Chapter 14

Document File Icon
Open external resource at https://www.ko-murobushi.com

Murobushi Ko's archive that shows the all women troupe, Ariadone, from 1973 and 1975. Furukawa Anzu was in this original all women troupe, led by Ikeda Carlotta, under the direction and production of Maro Akaji's butoh troupe “Dairakuda kan.” Note that this is Murobushi's online archive and credits only the male butoh “choreographers.”

From Chapter 14

Four barefoot nude women stand in a single file line on a sandy beach holding open black umbrellas above their heads. The women have their upper bodies tilted back and face to the right with their heads titled upward. Their legs are slightly bent, with thighs together and calves and feet slightly separated. Their body lines create crescent-moon arcs from their feet to the tops of their heads. Their torsos face on an angle, so that they are partially visible to the camera. The women’s dark hair is tied in buns, and it matches the dark, thick patches of hair on their exposed pelvic regions. Two of the women’s breasts are visible and two are covered by their arms. The photograph is in color but has a strong blue filter. A wave crashes on the beach behind the four women. The sky is clear and the horizon is visible but blurry in the distance.

Program Furukawa Anzu Diamond as big as the Ritz

From Chapter 14

Program Furukawa Anzu Diamond as big as the Ritz

University of Michigan Press Contact Us

UMP EBC

  • Browse and Search
  • About UMP EBC
  • Impact and Usage

Follow Us

  • UMP EBC Newsletter
  • Twitter
  • Facebook
  • Instagram
  • YouTube

Quicklinks

  • Help/FAQ
  • Title List
  • MARC Records
  • KBART Records
  • Usage Stats
© 2023, Regents of the University of Michigan · Accessibility · Preservation · Privacy · Terms of Service
Powered by Fulcrum logo · Log In
x This site requires cookies to function correctly.