著者
許 娟姫
出版者
舞踊学会
雑誌
舞踊學 (ISSN:09114017)
巻号頁・発行日
vol.2008, no.31, pp.48-59, 2008 (Released:2010-04-30)

Kwonbon is one of the systems transplanted from Japan to Korea during colony period and had been maintained from 1908 to 1942 under the governance of Japan. Kwonbon is mostly in charge of business management and art education for Geisha. Kwonbon system in Japan like this was applied to Korea in almost the same form with a policy. Kiseng, that is Female artists from the Palace and the Government, is an object. Kiseng during colony period had made a living and had kept traditional music and dance.Kwonbon had been completely disappeared around 1950's. However traditional dancers who have been lived in those periods testifies that numerous Korean traditional dancer including those who have important intangible cultural assets were educated at Kwonbon.This study focuses on how Kwonbon in Japan was transplanted and had rooted in Joseon (Korea), what was the details of education for Kiseng, and what kind of dance was educated. First of all, as a background of Kiseng education at Kwonbon, history from the introduction of Kiseng Union whose predecessor to the establishment of Kwonbon is reviewed and the role of Kwonbon as an administrative organization is summarized. From the examples of Seven Kwonbon in each area, basic Kiseng education and teacher, and details of dance education are studied.
著者
茅野 理子
出版者
舞踊学会
雑誌
舞踊學 (ISSN:09114017)
巻号頁・発行日
vol.1999, no.22, pp.77-80, 1999
著者
岡田 桂
出版者
舞踊学会
雑誌
舞踊學 (ISSN:09114017)
巻号頁・発行日
vol.2009, no.32, pp.12-23, 2009 (Released:2018-06-18)

Today, we can see the tendency that much part of popular music is oriented towards dance music. The elements of dance-oriented popular music, especially of those rhythms are majorly influenced by House/Techno music which was emerged around the early 1980’s from the underground night club scene in the United State. This article intends to examine the reason how and why House music was invented and about to strongly influence on popular music. In the process of examination, it is mentioned that a unique role of Japanese synthesizer named TB-303 which contributed towards developing the early scene of Acid House Music. The major group to invent and bring up House music was gay Afro-Americans in that time and they should be recognized as subcultural tribe in terms of urban sociology/cultural studies. In this paper, I regard the House music as the practice of bricolage by urban tribe and as TB-303 as tribal musical instrument. Also the trend of embodiment of music is discussed through the process in which popular music is about to change from the thing to listen towards something to feel.
著者
石福 恒雄
出版者
舞踊学会
雑誌
舞踊學 (ISSN:09114017)
巻号頁・発行日
vol.1979, no.2, pp.23-28, 1979 (Released:2010-04-30)
著者
井上 淳生
出版者
舞踊学会
雑誌
舞踊學 (ISSN:09114017)
巻号頁・発行日
vol.2017, no.40, pp.1-13, 2017 (Released:2019-12-05)

In this article, I illustrate the relationship between dance and music based on ‘dance ethnography’, a newly developed method in dance studies including dance anthropology. Through it, I try to open a new arena on exploring the relationship between dance and music. Defining dancing as separated from music and keeping similar condition in academic division between dance and music in my mind, I examine how nonprofessionals ballroom dance participants and musicians feel in Japanese ballroom dance industry. From dance lovers’ perspectives, standardized music wouldn’t be more than one option of the music to dance. But most of dance lovers in Japan tend to see standardized music as a canon. The practice of a few dance lovers in this article can be considered as a challenge to authorized dance practice, namely standardized ballroom dance. Ballroom dancing is practiced by a pair of individuals with different bodies. They cannot dance on one’s personal plan alone and thus have to pay close attention to each other. But standardization of ballroom dancing, especially in Japan, ‘emancipated’ dancers from troubles such that occurre when one can’t predict next move along one’s partner or when one tries to inform partner of what to step next. Even among nonprofessionals, the majority of ballroom dance his/her players must learn from their teachers about the ‘correct’ ways of dancing. Also, the music played in the background while dancing has been reduced into an instrument for counting steps. That has made it difficult for ordinary people, particularly those in old age, to enjoy dancing without taking formal lessons.